The monster: nature or nurture?
by LopendVuur
Summary: 'Where did that girl come from, why isn't she scared out of her mind by his frenzied creation, screaming his birth-pains out covered in blood' What if The Monster wasn't that, but just a guy with the bad luck to die young and have his corpse resurrected by a mad scientist? What would happen if a fearless girl stepped in at the right moment? A tribute to Caliban
1. Chapter 1

Prologue

When Adison was sixteen, her mother died. Her older brother was off to university at that time, and since there were no other children and very few staff at the manor house, the funeral was a very quiet affair. She and her father returned home together. The wind blew Adison's blond hair in her face. Her mother had always disliked her having it down, finding it indecent, but her father liked seeing it loose, so she decided to please him, and herself, on this sad day. Her father meanwhile contemplated how much she had come to resemble her mother, with her slender figure and her sweet, beautiful face. The black dress looked good on her, the colour making her look a little pale, though that might be grief as well.

That night after dinner, as they sat together in her father's cosy library, Adison shared some of her thoughts with her father: 'Dad, you know I'm not ever going to be married, do you?' His face lit up by the warm glow of the hearth, her father replied absently: 'You don't have to be married my dear, if you don't want to. We can live together, as we've always done.' Adison objected to this:' Dad, I hope you live to ninety, but what will I do after that?' 'I'm sure your brother will take excellent care of you my dear', he replied, now putting his book away and concentrating on her. Adison wasn't so sure, she had not really known her brother since he had been sent off to school when he was seven:' What if his wife doesn't like me, or I don't like her? What if she wants me to stop hunting and shooting, and start embroidering cushions and singing duets? What if she wants me to stop reading and writing essays and get married to an ancient baronet and raise a brood of children? What if they make me? They could, you know.' The very idea of having to stop studying visibly upset Adison, which surprised her father, since Adison was usually very calm and collected.

Adison's dad, who had always kept her mother from sending her to girls' school, knowing she would be unhappy there, had to admit that his clever daughter had a point. She had a great life now, always present at the meetings he held with his scholarly friends, taking notes and writing essays, testing her theories and asking difficult questions of the writers and scientists they invited to present their latest insights. But if he were no longer alive, and his son had taken over the manor house, Adison would be a beautiful but unfashionable and overeducated spinster living off her brothers charity. Her education would stop, which would mean that for Adison, life would stop. Seeing that her father was finishing a thought, Adison patiently waited for his answer:' You are right, dearest, we cannot count on your brother alone. We will have to make arrangements ourselves, and since I have plans to live to a very old age, we will have plenty of time to fullfill them.'

Her father started by opening a personal account for her, where he saved up as much as he could towards her future. Over their breakfast, they discussed a possible job. 'As far as I know, a noble lady without independence has three career options, 'Adison said to her dad,' marrying a wealthy man, becoming a governess, or studying to be a nurse.' 'If there were no children involved, or parents for that matter, you'd make an excellent governess...,' her father said comically. Adison finished his sentence: '..but since there are, I think it will be nursing.' Her father clearly didn't like the idea of his educated daughter settling for being a nurse: 'You have all the right qualities to become a doctor, Adison, if only they would allow girls to the colleges,' he observed regretfully. Adison, knowing he was right, answered: 'I know dad, I could cut my hair, wear trousers and apply, but then my brother will die of shame. What if I take the nurse's training, and apply to your friend from your Hong Kong days for a solid course in Chinese medicin to top it off. He never objected to answering a girl's questions when he visited, he even seemed to like me.' Her father's face lightened: 'He sure does, Adison, and I think it is a capital idea. With nurse's training and Chinese medicin combined, you will always be able to make your own living, and who knows when you may get the chance to become a real doctor.' And so she wrote two application letters, and within a month Adison had two replies that she was very welcome to study in the big city.

Adison studied hard to combine both courses, and met with succes on both counts. Her empathy with all living beings and scientific accuracy made her well-suited to nursing, and learning to practice Chinese medicin with her father's friend, and all the other teachers he recommended, gave her the challenge she needed. Meanwhile, several expensive heirlooms disappeared from the manor house, sold by Adison's father to have the proceeds end up on Adison's independence account.

But when she came home, the quiet solicitude of the country could not longer challenge her. After two weeks she told her father over dinner:' I'm sorry dad, but the country is no longer my favourite place to be. I feel I'm falling behind in my medical development, and I miss the noise and the entertainment of the city. Her father, though sad, was also understanding:' I can imagine you do love, it is time for you to stand on your own two feet, be independent. I will not cage my little bird, after raising you to be free. I wish you good luck, my dear, I'm sure you will do brilliantly. Use you savings well, and don't forget to write. I'll read your letters to our friends at our meetings.' And the next week, Adison packed her things and was off to the city, to meet her future. She managed to lease the entire attic of a nice-sized house in a middleclass neighborhood, and decided to live of her savings until she could find a position as a nurse in one of the town's hospitals.

Chapter 1

She had only moved into this attic a few days ago, and she was already getting used again to the noise of the large city outside and the muffled sounds of her neighbors. It reminded her of her boarding house in her student days, where it had made reading and studying quite a challenge after the quiet solicitude of their country house. It was the connection to her dad's friend from Hong Kong that had enabled her to lease such a nice roomy attic. It was easily large enough to hold a bed, a desk for writing and a little kitchen. And there was plenty of space left for her collection of books and papers. There was a door to the attic of the neigboring house, her landlord explained to her that it was the way to flee if a fire were to break out on the stairs or one of the floors below her. It was a nice place, and she really liked the feel of it.

On her third evening in the city, a furious thunderstorm shook the windows of her room. Flash after flash lightened up her room, and the roof directly over her head vibrated with the thunder. Adison was sitting at her desk, still dressed but thinking of calling it a day. The thunder started her musing about weather in the country, and she remembered walking out with her father, in the drenching rain with their umbrella's fighting to stay whole in the gusts of wind that a thunderstorm inevitably brings with it. She remembered standing on the hill with her dad, watching the bolts of lightning above the village in the valley nearest to them. It must have been quite a dangerous thing to do but she never felt scared, nor did her father ever show any sign of fear. Her mom never went on any of these excursions, but she didn't try to forbid them either. She trusted her husband not to risk his life or his daughter's.

Suddenly, a different sound breaks through the noise of the thunderstorm. Adison immediately realises this is not a natural sound. It is a humming sound, the sound of something metal vibrating. It seems to be coming from the attic next door. She puts on her slippers and moves towards the door. Listening with her ear against the wall reveals even more noises. Some machine in there makes the humming noise, and nearly covered by the sound of the raging thunderstorm she now hears a crackling sound as well. The air in her room is full of static energy. A deafening crash in the building next door shocks her out of her curiosity into fear. Clearly, lightning has struck part of the building. She wonders whether she'll be safe where she is, in the attic room very close to the striking point, with the windows opening on a three story drop, and a long stairwell her only road to safety. No sounds of a fire or alarming smells follow, so she decides it is safe to remain where she is for the time being. But this thought again is interrupted by the awful, heartrending scream of a human in dire need.

Another such scream follows, and another one. Someone is being tortured on the other side of the wall, maybe dying. And nobody has heard it except for her. She's heard that a weird doctor owns the building next door, and nobody has ever been in his house. She is amazed that can she hear the sounds in the neighbor's property so loudly. Another heartrending scream breaks the noise of the thunderstorm. The screams frighten her, but they also touch that place inside of her where her compassion lies, her pity stirring to life with a vengeance. Why doesn't anybody help this man who is screaming in such need? What is that doctor doing, shouldn't he be curing his patient instead of torturing him?

Her need to do something rising above her fear, Adison examines the door in front of her. A feeling of wonder comes over her when she finds a small knothole a bit higher up than she can reach. Quickly, she fetches a chair, and hitching up her full skirts, she climbs on it. Looking through the hole she sees a rather large, dimly lit space with a lot of weird stuff in it. Some kind of machinery, undoubtedly the source of the humming noise she heard earlier. The smell of ozone is overpowering, even through that small hole. Another scream catches at her throat, grabbing her attention to the victim of the torture. He is standing up, not constricted, but unspeakable things have clearly been done to him. He is naked and covered in blood running from a long cut that slashes his body from right to left and straight down his chest over his stomach, with more bleeding slashes criss-crossing his head. The slashes appear to have been stitched up in a makeshift way. He does not seem to be mortally injured to Adison's trained eye, but the continuing heartrending screams attest to his suffering. He must be injured on the inside as well, is Adison's instant surmise. She can see no-one else in the room, until she follows the tortured man's line of sight and sees a man hiding behind a thick door, peeping through a tiny barred window in it. The weirdness of it all is drowned out by another heartrending scream of the victim, and Adison can no longer stand her own inactivity. On an impulse, she wrenches the door open and runs toward the bleeding figure still standing and still screaming as if his insides are torn loose. Coming ever closer she understands why the other person present might be cowering behind a door, the victim is a powerful man and clearly beyond self control by what seems to be excruciating pain. But Adison was never easily scared, and her strong feeling of pity keeps her moving towards him. She needs to comfort him, and she needs to find a way to end or at least relieve his suffering somehow.

And with no concern for her own safety or for what the blood might do to her dress, she reaches for the man, to let him know help is near and ask him what he is suffering from. As soon as he feels her gentle touch, the stricken man turns to face her, his eyes grabbing hold of her in a strange yellow glare. His bloody hands grope towards her, a terrifying sight, but Adison recognises the need in his gesture and meets him with her arms open, welcoming him, offering him relief. As soon as her arms have closed on him, his frenzy seems to leave him, taking his strength with it. He crumples at her feet, his body spent, his agony silenced. Feeling him breathing heavily in her arms, small convulsions the only other movement in his body, Adison feels his need for another human being to hold him. Her instincts tell her he needs her close and quiet for now, and she decides to follow them and just be with him for now. Treatment can wait a little longer.

Chapter two

Seeing this young girl appear seemingly out of nowhere and fearlessly holding his crazed and bleeding progeny in her arms stirs the other man to life as well. He comes out of his hiding place, watching the scene unfold before him with bewilderment. Where did that girl come from, why isn't she scared out of her mind by his frenzied creation, screaming his birth-pains out covered in blood? And most of all, is his secret out? With his limited experience with people he has little idea how to handle the situation, so he just stands there, waiting and and watching.

Meanwhile, the bloody creature is silent, though from the look in his eyes Adison can see his physical pain is not lessened. He is just holding it inside, suspicious of her she thinks, and not willing to show his weakness. Actually, he is just stunned by everything that has happened. He has just been born in incredible pain and a welter of blood, and the person who has caused him to be has fled from his agony and frenzy in fear and rejection. And this strange person comes out of nowhere in response to his pain and fearlessly holds him close to her, to comfort him in his most vulnerable moment. For some time, nothing changes. Adison holds the bleeding man close, giving him what reassurance she can. When she feels him becoming heavier, giving up the cramped pose of suspicion, or extreme pain, she starts to look around for a bed to put him in and see what really ails him, maybe dress those wounds. She sees the scared man observing her, not so much scared anymore as holding back, maybe thinking of a way to take control of the situation and his attic.

'Can you please tell me where this patient's bed is, so we can help him back into it?' Adison asks the man, probably the doctor in charge. The man points his head at a bare table, set at working height, more suitable to dissecting a corpse or dressing a steak than nursing a sick man. Besides being uncomfortable, it's covered in blood. 'That is not suitable for an injured man to rest in', she says, 'it needs to be comfortable and clean, lest his wounds go bad.'. Incredibly, the doctor just nods and walks out, presumably to fetch a softer, cleaner pallet. Adison looks back at her charge, who seems in less pain already through her steady presence. He watches her, not in a frightened way but with hunger in his eyes, as if she has already given him something he craves, but wants, nay needs, more of the same. No problem for Adison. She holds him and even manages to stroke his poor shaven head. The awful wounds and the blood covering it don't matter to her, nor the intense yellow eyes that keep fixing on her. She holds him where he is not hurt, and gives what comfort she can to this helpless wild creature.

When the doctor returns, indeed dragging a makeshift pallet behind him, Adison lets out a breath she didn't know she was holding. After all, she is in the man's house without invitation, and somebody did horrible things to a strong man apparently in his prime. It may very well have been the doctor.

Sitting on the pallet with her back to the wall, with the injured man settled comfortably in her lap, she witnesses exhaustion slowly taking hold of him. He is still watching her, but wariness and hunger have left his eyes. Weariness has taken over. There is still some pain there, but that is to be expected. It seems that he trusts her enough to mostly let go of his consciousness, and Adison is determined to deserve that trust. Also, she is very curious whether the doctor really is a doctor, and if he will throw her out of the house or let her stay with the victim. Patiently, Adison holds the solidly built man and gently caresses his shaven head and damaged body until he finally closes his eyes and falls asleep. His breathing is regular and his body is relaxed, the wounds have finally stopped bleeding. They need cleaning and dressing, but for now she relishes the quiet.

The doctor breaks the silence first. 'Good day, miss ...' 'Adison', Adison fills in. 'Good day to you Miss Adison, my name is Victor. I was very surprised to see you turn up at this particular place and time.' Adison does still realise she practically broke in to his home and says: 'I live next door, and when I heard your patient scream in agony I used the fire-door in an impulse. I hope you don't mind.' . He replies: 'No, I must thank you for saving the situation. You see I'm not used to living patients, I'm a doctor of pathology, I study the deceased to learn how bodies work. Having such a lively specimen around frightened me enough to flee the room. I was sure he'd kill me in his frenzy. The consequences might have been disastrous.' With this new knowledge Adison looks at the man in her lap with different eyes: the slashes over his body closely resemble the cuts she knows a pathologist would make to examine a corpse. It also explains the sloppy suturing, for a corpse has no bloodflow to staunch. But why would the doctor cut open a man still living? First she answers the doctor: 'The consequences may still be disastrous, for those wounds were not sutured well or they wouldn't bleed. They'll need extreme care or they'll fester and scar horribly and disfigure him for life.'

Now the doctor seems to be getting really uncomfortable, and the reason for this soon becomes clear. 'I need to go to an appointment right now, can I leave you here with him and explain the situation when I get back? Can I trust you to not betray my secret?' Adison considers the situation and replies: ' I will keep your secret, though I don't even know what it is, on one condition: I'm a trained nurse and I want you to let me dress this man's wounds and stay with him until he is out of danger.' 'That is very agreeable to me' says the doctor, 'I'll even pay you for your services, my expertise is clearly with the dead, not the living. And I'll bring you both some food when I return.' With this he grabs a bag from a table and practically runs down a stairs at the back of the attic. Leaving Adison alone with a man she has never met before, who was howling at a storm in a frenzy not half an hour ago. But Adison doesn't feel threatened, she already feels a strong connection to her new patient and she makes herself comfortable holding him as close as she can until the doctor returns.

Her nature cries out against the story the doctor tells her, realizing his total disregard of a possible God and guessing at the arrogance needed to drive a man to cross the boundary of death with science. Still it is hard for her to fault him for his actions, or her patient for being what he is. She can imagine the doctor feeling lonely, being young and full of life, and spending all his time with dead people. She can imagine him constructing a companion for life out of the people he knows and loves best, the deceased, and finding a way to bring life to him. And she cannot fault the resulting man for crying out in the pain of his birth, and threatening to hurt the man who caused him such pain when he brought him to life and then rejected him because of fear of his strong feelings and passions. With her love of people en nature, everything in her cries out against this travesty of life and friendship, but the same love makes her forgive the perpetrator, and love the victim.

Now settled in the attic of the doctor's house, Adison cares for his progeny. What at first sight she took for slashes are actually much deeper cuts, penetrating far into the tissue, wounds that would take weeks to heal even with expert sutures in healthy flesh that hasn't been dead for weeks. And though the doctor's art was brilliant enough to cheat death and bring his subject back to life, it clearly involved a lightning strike, very damaging to the nerves and excruciatingly painful to its victim. A challenge for anyone dedicated to healing, and very well suited to Adison. She brings over some of her Chinese herbs to help her fight infections, and sets to work.

During the task of cleaning and dressing his wounds, the wounded man wakes up from his exhausted sleep and even seems quite lucid. Adison, feeling it is time to think of him by name instead of condition, but supposing he doesn't remember anything before his death, introduces herself: 'How do you do, my name is Adison', she says in a quiet, friendly voice 'what is your name?' As she expects, her patient is confused by her question, not able to recall a name and more childlike in his reactions than anything else. 'Would you like me to give you a name?' she asks. He continues to stare at her with those weird eyes, silently. Slowly he nods, clearly understanding her. Adison has spent some time contemplating a name for this strong yet feeling man and she makes her suggestion, hoping it will please him: 'What would you think of Vincent? With so much strength in you, you may need a friendly name'. Whilst he is contemplating the name, Adison starts to clean the cut on his temple that gives her the most worry. The sutures have almost parted here, making the wound gape, and the edges look inflamed already. She hopes her skills will be enough to prevent further infection, but scarring will be inevitable. Her charge undergoes the treatment quietly, though it must hurt quite a bit. His nerves must also still be raw from the lightning strike. He looks up at her as if he means to speak, and her heart skips a beat. 'Vincent', an unexpected voice says. He has no more words to speak yet, but he looks content. She does not surpress her sudden impulse to hold him close, and why should she? He has only just been born.

Chapter three

A few weeks later, as she is treating Vincent's wounds, she feels very glad that most of the cuts are healing nicely. 'Are you happy?,' her charge asks her with a sonorous male voice, but a child-like inflection. In reply, she hugs him lovingly and says: 'Very happy. Your wounds are almost better.' His strong hand moves towards the only wound that is still not healed well, the one on his right temple. Adison takes his hand in both of her own:' Please try not to touch it, dear. It might get infected again.' He complains:' It..., ' clearly he's thinking hard '..itches, it itches.' Adison kisses his hands:' You remembered the word, excellent! I know it itches, it is healing, and that always itches. I'll put some of that lotion on it, to cool it down.' She lets go of his hand to fetch the bottle, then rubs it on the healing wound. Vincent clearly enjoys the feeling, laying his head on her lap and closing his eyes like a cat that is stroked the right way for as long as she touches the scar. She rubs him a bit longer than is strictly neccessary, pleased that she no longer needs to hurt him to keep the wounds clean. He has been through so much, and he has been so laid-back and patient about it, even sweet, that he deserves a soothing touch as well. The wound is still a bit swollen, making him feverish and sleepy by spells, and Adison is concerned about possible scarring in such a visible place. When she stops, he looks at her and asks:' Will you read to me?' 'In a moment, dear, you go find a book,' she replies, clearing up the materials and straightening the bed. She settles on it, and Vincent hands her a volume of poetry, then reclines in her lap again. 'No, you're going to read to me,' Adison says, 'so you'd better sit up and hold the book.' He does sit up, but as close to her as he can. He clearly needs a lot of physical contact, just like a child. 'Into the woods, the lady ran,' he reads, then looks at her. Poetry seems a strange choice of teaching material, but teaching Vincent is not at all like teaching a child. He can concentrate much longer, and seems to already have a developed taste in literature, a decided preference for romantic poetry. And he seems to remember words and expressions, learning to speak really quickly, and learning to read and write easily too. He must have been literate, even well-read in his former life.

She remembers fondly how she has taught him first to walk, which was not very difficult, his body being rather muscled and his balance quite good. 'Wat are you thinking of?' Vincent asks, 'you're thinking again.' He is studying her with his weird yellow eyes, out of place in his innocent beardless face with its pale skin and hair growing in inky black. She touches his face and says: 'I was thinking of the first time you walked'. He remembers: 'It was easy, walking. Dressing was hard, and washing was cold. Eating is good, except drinking milk, I don't like milk.' 'Luckily you don't have to drink it, my father always made me when I was young, 'Adison remembers. Her father would laugh if he knew she was a governess after all, only raising an adult instead of a child. And no parents either, so maybe he'd count her lucky. But she hasn't written him the entire truth, just that she had a challenging case close to her room. 'You're doing it again, thinking,' she hears the clear baritone, 'let's play.' She has taught Vincent wrestling, to help activate all his muscles after the weeks of healing and to keep the scars supple so they don't heal too tightly. But they love doing it too. She jumps him, pushing him flat on the bed. They struggle and roll, each now on top, now on the bottom. Adison suspects Vincent of cheating, letting her win every other round. For he is clearly much stronger than she is, with his adult body, larger weight and longer limbs. But she admires him for already realising that an even match is more fun than winning all the time. He is such a nice boy, and growing up so fast!

Suddenly, Vincent breaks off the match, and watches the stairs with trepidation. He no longer hides behind her when the doctor comes to check on them and to bring dinner, but he clearly doesn't like the visits. 'The doctor comes, ' he voices his disquiet. 'Why do you dislike him so, Vincent? He's never hurt you. I hurt you a lot treating those wounds, and you like me.' He jumps her, and corrects her:' I don't like you, I love you Adison!' And again he evades the question. 'Try to be nice to him, Vincent, he is as concerned about you as I am,' Adison tells him, and to do her a favor, he tries hard. Sometimes the doctor visits when Vincent is asleep, and Adison and him talk about medicin deep into the night: 'You amaze me, Adison, the way you've gotten those awful wounds to heal with virtually no scarring. How do you do it?' Adison is flattered, and says:' It's part cleaning well, and good nursing, but I also have had the advantage of Chinese medical training. It is quite profound.' He continues:'I know your main interest lies with the living, but when Vincent is ready to either stay alone for awhile, or come along, will you come visit my workshop?' Now Adison is really flattered, and replies: 'Of course I will, doctor, I'd love to see your work. Your research means much to modern medicine, teaching us much we need to know to help people get diagnosed and cured.' He notices her use of 'we', meaning she sees herself as a doctor, not a nurse, and he totally agrees. She has more in her than that. He has been hatching a plan, and he decides to ask her straight away what she thinks of it:' How would you like to start a medical practice with me, treat the living I mean. I diagnose and you treat, put simply.' She looks at him, stunned by his trust in her: 'I'd love that!' From that moment on they make their plans and become fast friends. They get very close, but never intimate. The doctor just isn't the type to love anything but his work, Adison knows. She regrets that only a little, she gets plenty of love from her patient, and she doesn't feel awkward about it, for he is like a child, still developing, and children do need a lot of love.

Slowly, as Vincent improves in abilities, he also improves in looks. Adison catches him looking in a mirror, studying his own face. He touches the scar on his temple, now healed and though clearly visible, not disfiguring. He asks Adison:' This will never fade completely, will it?' Adison shakes her head, not trusting herself to speak.'Will my hair cover it when it is longer?' Adison has spent some thought on that:' I think I can cut it so it will, layer it over your temple, making it look fuller. Do you want me to try?' He looks at her trustingly, and says:' Yes, please, right now?' She agrees and gets the scissors:' Now please sit very still, and do not make me laugh, or you'll regret the results.' He promises, and since he still loves her to touch him with her soft, clever hands, he doesn't mind sitting still at all, enjoying the process and getting a bit sleepy as a result. The new hairstyle is quite a success, covering the scar nicely at first sight. As he checks the result in the mirror, she assures him:' It will look even better when it grows a bit more. It looks good on you.' His gaze moves from his hair to his face, and he asks:' Why is my face so pale? Adison doesn't know, but she says:' Some people have dark skin, some light. Yours is very light. And you have not been out in the sun for months.' He observes:' You have not been either, and you are not so white.' 'Maybe I was browner to begin with,' she retorts. Then his eyes get a good lookover:' My eyes really are an unnatural colour.' This is a statement, not a question. And Adison cannot deny it, so she speaks the truth:' Indeed they are. People usually don't have yellow eyes, they have blue, grey or green eyes. Some even have brown eyes. I don't know why yours are yellow, but I think they look good on you.' And now, looking at her as intently as he studied his own likeness in the mirror, he can see that she speaks the truth.

The development of his body seems to fascinate Vincent, the hair growing back on chest, arms and legs, and his crotch. He has no beard though, making him look younger than the probable age of his body. He is developing muscles, working out on the attic floor and from the beams. He loves to recite the poems from the doctor's and Adison's book collections, but he has no interest in medicin. When the doctor and Adison discuss cases and interpret drawings, he picks up a book. Adison loves his observations:' You used to be my mom, but now you are more like my sister.' She is very happy to notice that he is more willing to talk to the doctor, fortunately they share a taste in poetry. Vincent and Adison explore the doctor's house and library together, they do chores, they cook and clean and still play together.' Why do you always cry when I read to you or play a sketch?' he asks. She protests:' I don't always cry, you often make me laugh, too, but when you play a pathetic scene or read a sad poem, you touch me inside, making me cry. Making me cry in a good way, Vincent. You move me with your interpretation of language.' They still sleep together, and when she strokes his hair, or holds or caresses him, he enjoys it, but he wants to return the caresses as well. Vincent has grown up quickly, and he is now nearly the man that his body looks like.

Of course Adison is completely unaware of this. She has from the first felt a special bond to Vincent, from seeing him suffer so much and trying to help him, to practically raising him as if he were the younger brother she never had in her childhood. But, raised very sheltered herself, she knows little of the world and of the things that go on between men and women. Adison has of course seen that Vincent has all the parts a man should have, and she even asks the doctor if he will ever function as a man, purely out of medical interest. The doctor himself doesn't know, and Adison forgets about it. With her eighteen years of life among her parents and their elderly scientist friends, and her only experience with a younger man the doctor, who is so singlemindedly living in pursuit of knowledge that he is still as pure as she is, how is she to know about men?

Still living together as innocents, without taboos or shame, Adison and Vincent have shared their bed since the first night. For practicality when he was severely wounded, for habit and comfort when he was recovered. Now they are reclining on the bed close to eachother, reading a book together by the light of a candle, dressed casually for the warm night in the attic. Vincent reads aloud, his accent clear, his voice a nice baritone. Adison, listening with appreciation, absently traces the healed scars on his chest with her hand, glad they are fading to white already. She feels satisfaction for a job well-done. Then suddenly, something is different. Vincent no longer feels bonelessly relaxed, his accent has changed. 'Do these still hurt?' she asks. She has hurt him a lot, getting those awful wounds to heal up this nicely. He doesn't answer, and slowly she looks up at him, to read his mind from the look in his eyes. But the expression there is new, she has never seen him look this intense since that first shocking night together, where they formed the bond that makes them both feel so much as one. She has always known he has very strong feelings, she just hasn't seen them since then. What causes them to surface now?

His reading has stilled, the book forgotten. Adison has stopped exploring the scars, afraid to cause him pain. Finally he finds his voice, thick with feeling:' please don't stop...' It seems he can't say more, arousing Adison's curiosity. She complies, tracing the scar down his chest, along his stomach, all the while keeping her attention on his eyes, the fire in them growing. His nice, comfortable smell intensifies, making her feel warm inside. Very warm inside. She realises that they are no longer like brother and sister. Deliberately she moves her hand even further down, stroking the fine curly hairs, expecting to see his male part tensing as well. She is not mistaken, it is clearly functioning just fine, standing out proudly. Still mostly curious, she reaches out for it, just to feel its soft skin stretched tight.

This is all too much for Vincent. His heated tension just cannot be contained anymore and he quickly moves towards her, practically grabbing her in a passionate embrace. His sudden, forceful move does not frighten her, it only flares up the heat inside of her. He is incredibly strong, much stronger than she has ever expected him to be, but his touch is careful and light. She finds herself in his arms, face to face with the man she knows so well by now that she could draw his every feature, every hair from memory. Just before they share a heated kiss she feels drawn to lightly touch the newly healed scar on his right temple. Her touch sends a another shock of passion through him, one she shares when their mouths finally meet.

The heat of their first kiss leaves them both a bit out of breath and stunned by its intensity. They lie on their backs, trying to take in what just happened. But the fire is still there, and soon they are facing again, and touching again. And kissing again, touching at the same time. Their touching intensifies, until Vincent takes a moment to regain his self-control, forcing his passion down, to slow down. He wants to make this last, make it count. And he is instinctively afraid of scaring Adison with his physical strength and his intense feelings. Adison, sensing his reticence, slows down a little too, though not at all afraid of his passion but relishing it. This gorgeous, almost wild creature is focussing all his strength and all his feeling on her, barely controlling it and overpowering her with it. She wants it all, but she does want it to last, to have that passion as long as possible.

Tempering the heat, they find the tenderness. Exploring their intimate places and finding the most sensitive spots, they touch every inch of the other's skin with more than just their hands. They know one another so well, have seen the other undressed so often, have caressed eachother frequently, felt eachother nightly without passion when they slept together for comfort. Now they get to explore the same places, and some others, with intense heat, with a passion so much stronger because it has lain dormant for so long. They drink in eachothers smells, and tastes, exploring with their tongues and mouths as much as their hands. Then at last, her passion nearly sated, Adison wants to experience the beast in him in his full glory, eager to unchain its hot temper and feel herself totally overcome by its sheer strength. So she convinces him to let go of his control by teasing his soft-skinned, but heat-hardened male part with her warm, moist tongue and mouth. She can feel the pressure in him building up to an almost unbearable height. Then Vincent has to let go, and their bodies meet in the ultimate embrace, for the first time, a time they will remember forever.

Afterwards, they lie still, spent, holding eachother close and wondering. How can such passion have taken so long to come out and finally show itself? Why haven't they felt this way before? They have done virtually everything together since the day they got thrown together, have shared every experience. And now, suddenly, something has changed. The next day, they go about their tasks and habits with a delightful new awareness of the other. Of course, most new lovers like to spend as much time together as they can, but they already know eachother so much better than most lovers do, that only the thing that is new, the passion, stands out like a beacon. They know the doctor will spot the difference in them immediately, and hope he will not disapprove.


	2. Chapter 2

Chapter 4

Afterwards, they lie still, spent, holding eachother close and wondering. How can such passion have taken so long to come out and finally show itself? Why haven't they felt this way before? They have done virtually everything together since the day they got thrown together, have shared every experience. And now, suddenly, something has changed. The next day, they go about their tasks and habits with a delightful new awareness of the other. Of course, most new lovers like to spend as much time together as they can, but they already know eachother so much better than most lovers do, that only the thing that is new, the passion, stands out like a beacon. They know the doctor will spot the difference in them immediately, and hope he will not disapprove.

But when the doctor comes in around midday, he is himself so full of something that he doesn't really see his protegés. He cannot wait to share it with his friends, and as he hands them a bundle each he tells them: 'It's evening wear. It's time you both get out of the house, get to know the world. We're going to a play tonight, in a theatre closeby, where they stage simple tales that start with love and end in buckets of blood. I've taken a private box, you need not face too many people at once.'

After trying on the new clothes they enjoy a meal together, and then talk away the rest of the afternoon until it is time to go out. Adison is looking forward to going out for the first time in months, but she is also anxious about Vincent. He has never been outside the house, and then go to a public place? Why not a park, or just a quiet block around the house? As if the doctor can read her mind he says: 'I know it is frightening to see him exposed to people for the first time in what seems to be a very public place, but I think that people in a theatre are less aware of people around them, and too busy with how they look themselves and the entertainment to pay close attention to others. Besides, I'm certain Vincent will love the theatre, he has such a way with language and acting, he could be a professional actor himself. And we're always talking medical talk, I thought he'd appreciate the occasion. He certainly seems happy to see you in that evening dress, I know I am.' Of course Adison has noticed Vincent looking at her with even more interest than usual, but what does the doctor mean by his last remark? Feeling a bit self-conscious, she quickly returns the compliment: 'You don't look all that bad yourself, Victor, in that lovely suit. Though you are a handsome man in any outfit, this really brings out the best in you. You clearly have great taste in clothing!' It is true. Not only has he guessed their sizes just right, Adison's dress makes her look not only beautiful, but she also feels very comfortable in it, not too exposed and not too conspicuous. And Vincent looks just stunning dressed up: his raven hair framing his pale face, his suit cut to accentuate his broad build without taking away size, the blue colour in good taste but bright enough to take some notice away from his intense yellow eyes. Adison can hardly keep her eyes off him, and she really looks forward to going out with two such handsome men.

The trip to the theatre is uneventful for Adison, but to Vincent it is a road of wonders. The streets are filled with people, animals, children. The sounds and especially the smells assault his senses. The laundry hanging over balconies, people talking, shouting, arguing. He takes it all in, Adison hopes he'll have some space left in his head for the play. Adison mainly watches the reactions of passers-by to Vincent. She is amazed to see that nobody seems to really notice him, he is just one of the many townspeople out on the street. This is a great relief to her, she has no idea what to do if someone would mock him of even threaten him because he looks different. But looking about her, she sees a lot of people who look 'different'. People with scars and rashes, with flamboyant or threadbare clothes, misshapen people, very tall or very short people. She has never seen them until now, which is probably exactly what the doctor meant. Relieved, she starts anticipating the theatre with more enjoyment, and watching Vincent discover the world outside, with the friends he loves and trusts on his side, dressed to within an inch of his life, suddenly becomes one of the nicest things she has ever done.

To Vincent, the evening is one big wonder. Though the play is clearly not the best ever staged, overstuffed with drama and covered in blood, the theatre makes a lasting impression on him. The stage with its great lights and the scenes taking place on it, though not on a par with what he has read from the great poets in the doctor's library, still evoke great feelings in him. This is what he wants, pleasing the admiring crowd, reciting the beautiful lines, expressing the drama. On the way back he is even more quiet than usual, trying to sort out his feelings. They have been stirred a lot the last few days, and he needs some time to think things over. Adison looks lovelier than ever, in the gorgeous dress the doctor has chosen for her, with little blushes of exitement over the play on her cheeks, and in delighted conversation with the doctor on their way back. Vincent has seen many admiring glances thrown her way, a lot of them from the doctor. Should he be jealous of the doctor, or glad she has chosen him? He can't decide, and the feeling that he needs to do something with his newly awakened love for the theatre keeps interfering his thoughts.

Back home they change and sit together for a while, talking about the evening and the play. Adison and Vincent are sitting close together, as ever, but their closeness does not exclude the doctor. As the exitement of the day fades a little, their elation over one another returns, accompanied by anticipation of the coming night. The doctor, observant by nature and a trained spectator by profession, notices straight away. 'Something has happened besides going to the theatre, you two look different somehow!', he says. Immediately afterwards exclaiming: 'You're together! You're in love! Just when I was planning to spend more time together, get to know Vincent better.' The two lovers, afraid of rejection, are silent. The doctor, suspecting that Vincent still doesn't quite trust him despite his efforts to make up for his failure just after Vincent's birth, suddenly starts to feel fear. His: 'You won't leave me, will you? We'll stay friends?' explains his seeming dismay at the new development. He is too focussed on his research to fall in love or get married, but having tasted friendship, he is no longer willing to live without it.

Adison quickly assures him that they have no intention to leave: 'Dear Victor, where would we go? Without you, I'm only a nurse, or a minor nobleman's daughter with no polished manners, and no marriage prospects. I want to be a doctor and you are willing to help me become one. I like you, and I like working with you.' Vincent bows his head and adds:' And to the world, I don't even exist!' Adison finds he looks pretty normal now, with his hair nicely combed and his manners, well, docile might be the best word to describe them. He still looks different though, even tonight in his fancy clothes. His white, nearly translucent skin and the lack of a stubble make him look soft, even weak. But his yellow eyes betray him, this is no born victim but a wild creature keeping a careful hold on himself. Letting him out in society without thorough preparation could be very dangerous, especially for him, but also for anyone who'd think him easy prey. The thought of Vincent out on the street alone, with no skills to make a living, and no experience with people besides her and the doctor, upsets Adison immensely. She pictures him roaming the back streets of the town, shunned by decent folk, cast out for his strange looks and abused until his control breaks, leading him into violence. Seeing her apparent distress, Vincent touches her face, bringing her out of her thoughts, and fondly tells her:' You're doing it again, thinking too much.' He has no idea that it is him she is thinking too much about, but the doctor has also pictured Vincent out on the streets, and both he and Adison feel a need to watch over him, as if their wakefulness will keep him safe from the world and his own is unaware of their bleak thoughts, his mind is still occupied by an image of himself, in a beautiful costume and stage make-up, bringing the attentive audience his lines of Shakespeare.

After all the exitement of the evening, the doctor reluctantly heads for his lonely bed. The other two move as one to a room of their own, the attic left for the mice and the ghosts of the past. The doctor doesn't know much about what the young lovers will do in their new room, but he has an imagination, and he would give much for a chance to try some of it himself. Of course it never interested him much before Adison came into his life, and he isn't eaten up by jealousy of Vincent even now. But sometimes he feels it would be nice to share his bed with someone warm and caring.

Far from suspecting any of these thoughts, Adison is checking out their new room and bed with Vincent. They are still very excited about the evening behind them, it is clear they will not find sleep for quite awhile yet. They sit on the huge fourposter bed, amazed at how their life has changed in a day. 'The doctor was admiring you an awful lot tonight, Adison,' Vincent says, 'do you suppose he is in love with you too?' He doesn't seem upset about this observation, so Adison tries to answer him in the same calm way, even though she hasn't seen any of those looks from the doctor herself, and the idea of the doctor admiring her does upset her. She is afraid of complications and jealousy in Vincent, she knows the doctor's possible interest in her is not serious, he will not claim any woman for himself or he would have married or taken mistresses long before today. 'I didn't see it Vincent, but if he is, would you mind?' Surprising even himself, Vincent has to conclude that he doesn't. 'I suppose he really likes you, having the same interests as him, being able to talk to you as an equal. You also helped him save me, he was so scared that night, it must have ended in tragedy. I could have killed him, or grown to hate him.' Stunned, Adison exclaims: 'So you remember the night of your birth?' Taking her in his arms, he replies:' As if it was yesterday. He rejected me in fear, and you accepted me, having seen what I am capable of.' Adison is touched, but: 'You were not threatening him Vincent, you were in great pain and need. I have never feared you. I understand his reaction and have forgiven him, but the only one who suffered was you.' Vincent's remembering the night of his birth is a shock to her. She'd hoped that horrible night might have been wiped from his memory, the pain of it never to be relived. Feeling comforted by his closeness and lack of tension, she concludes his distrust of the doctor must have come from those memories of rejection, but that he has now forgiven the doctor for his arrogance in creating him, then abandoning him in his moment of need.

She says:'I have grown to like the doctor for his actions since then, and I think I could even love him, but he is not the kind of person to love unconditionally, like you and me. We are one.' 'We are one' he replies, ending all conversation by kissing her with all the passion of the night before. They could spend the whole night talking about his memories of the night of his birth, and he hasn't told her about his newly found ambition to be an actor yet. But there has been enough talk tonight, his love will now take a physical form. And when they have explored eachother's bodies all over again, finding known and new stimuli, and Vincent's tongue and nimble fingers have taken Adison to new heights of passion again, she tempts that place again where the beast waited last night. But this night it is not at home, or fast asleep, or chained with an even stronger chain. And they end their loving with the same intense coupling, but more tender this time instead of in a frenzy of uncontrolled passion. After that, sleep comes quickly for both. Adison relives the night of Vincent's birth many times in her dreams, but he sleeps like a baby, and vivid dreams of beautiful plays and fame stay with him, strengthening his resolve to discuss his chances to become an actor with Adison the very next day.


	3. Chapter 3

Chapter 5

The next morning, Vincent awakens with a painful erection. Strangely, he's never had one before, and he wakes Adison to show it to her. 'And you're not aroused?' she asks. 'Not particularly, no', he replies. 'Still, we can't leave it that way', she says. 'What would you say to doing something about it in the attic where we started this?' Actually, he's happy to have left the place of his birth behind him, but he needs to face that as well, someday. Why not let it be today, then move on, tell her about his ambitions. Back in the attic, his erection is gone. Vincent feels the need to explain: 'Talking about the night of my birth here has brought it all back to me, vividly. It still hurts to think of it.' She doesn't say anything but holds out her hand to him. Together they walk towards the table, once covered in blood. And the electrical apparatus, used by the doctor to attract and direct the lightning strike. It is in good condition still, but fortunately unused. 'What do you remember exactly?', Adison dares to ask. She's here with him, together they can face anything.

'First thing I remember is the pain, such pain! It made me scream. There was only confusion, I knew nothing. I saw things around me through a haze but I didn't know what anything was. The pain was not letting up, if anything it got worse. I couldn't stop screaming. The air smelled bad and tasted worse. Then through the haze I saw a face. I knew that comfort would be with that face, so I tried to walk to it. But I couldn't even walk, and fell several times. Desperation kept me going, but I couldn't stop screaming. The face didn't help me, it looked at me the wrong way. I knew somehow it shouldn't look that way, and indeed it ran away. With my last strength I got hold of the body the face belonged to, begging it to help me, to stop the pain, to stop the bleeding. But it pushed me away. It didn't want me. It hid behind the door, watching me scream out in rejection as well as terror and pain. Then I felt loneliness, such utter loneliness that it drowned out even the pain. The loneliness seemed to go on forever. I tasted blood and despair. I started to hate the face behind the door, for somehow I knew it belonged to my father, that he had done this to me. Then I felt a soft touch. I turned on it in the hate I felt at that moment, that must have been a sight: an animated corpse shambling, bleeding from hideous wounds, screaming in fear and loneliness. And in its unnatural eyes, the hate rising. But this face just held out its arms to me, accepting me, loving me even in the state I was in. My strength gave out and I collapsed in your arms, letting the pain and the exhaustion take me. When the loneliness left, the pain came back, but I didn't loved me as a newborn should be loved, unconditionally.'

Adison is greatly moved by his memories, so clear and still so intense. How can he stand the sight of the doctor, even like him? He must be very good at forgiving. But she never saw hatred in his eyes that night, just an overwhelming loneliness. Can it be that he remembers this wrong, or did she just not see it?

Having relived his first memories, Vincent is dead tired and a little depressed. He is glad to let Adison lead him to their pallet, still there. She nestles in his arms, glad to just be close to him. After awhile, she touches the scar on his temple, tracing it down his neck, to his chest. He faces her and smiles. The erection is back.

Afterwards, he tells her about his revelation in the theatre. She knows he does not share her interest in medicin but she has never realised that there might be another thing that he could love as much. Silly of her. She's very happy for him, and knowing his talent for reading and interpreting text, combined with his striking figure and expressive ways, she can easily picture him on the stage. But she also feels anxiety. If he were to become an actor, she can no longer be with him all the time, he will have to face a very competitive world all on his own. Can he handle it? Can he control himself under the abuse he will undoubtedly get from competing actors? They decide to ask the doctor for advice, he knows the city and its ways, he'll know where a person can go to become an actor.

And indeed he does. Though he at first has the same doubts about letting Vincent strike out on his own, he also recognises his talent and certainly believes he can do it. Though Vincent prefers the higher stature of Shakespeare and the other great poets, he agrees that starting small and close to home may be a smart move. So the doctor makes an appointment with the friendly director of the smaller theatre that started this whole thing. Vincent recites poems, plays a scene the director has given him to memorise and dramatise. The audition is a succes, and as there is a minor role open in the latest play, he can start straight away. 'Rehearsal starts Monday morning at ten, be on time, know your lines, you're a villain so wear black until you've a costume, and be scary. Oh, and seeing as you've ambitions, try to get some fencing lessons. Gives a certain stance to a guy, looks good on an audition. If you're as good on stage as in my office, you might qualify for a lead role before long. And watch your back, we've a greedy bunch out here with more ambition than talent mostly. They may try to test your mettle, be ready for it. Be sure to let me know if anyone gives you trouble.'

Memorising lines is no big deal for Vincent, and the character he plays is no holds barred evil, no shades of grey, just pure black. An easy task to play for someone with his looks. Monday seems ages away. Especially with Adison starting out to assist the doctor, and being away from home for half the day. The other half they spend together, the doctor having decided he can give Vincent his first fencing lessons himself. As a noble born, he has spent at least part of his youth learning to ride, hunt, fence and wrestle, and he is no mean teacher, though he lacks the bloodlust to be competitive. They find a suitable space in the basement, and there the doctor teaches the rudiments of fencing to Vincent and to Adison as well. For as he says, why should a girl have to rely on men for her defense? Her father being of the same opinion, Adison has learned to ride well and to shoot with both a rifle and a hand held gun. But fencing never had his interest, so this is all new to her.

Though she handles herself well in these lessons, Vincent is a natural and soon outclasses her in more than a man's greater strength. His reflexes are lightning, he can judge an adversary in a moment, he relishes remembering the exercises exactly how they should be performed. And then there is his frightening strength. There is no way that that is natural, even for a man of his size and build. After one week of fanatic practice, sparring with Adison is no longer useful to him, except for exercising self-control. After two weeks, the doctor has to admit it is too dangerous for him to let Victor go all-out in practice. He cannot trust his own ability to parry those powerful lunges, and getting himself injured or killed is of no use to anyone. So the doctor concentrates his efforts on Adison, and he hires a skilled swordsmaster to further teach Vincent.

Adison now accompanies the doctor to his work. She helps him dissect his objects carefully, then to describe and draw everything and catalogue the results. With her documenting skills honed by years of practice, guided by the most enlightened minds of her father's time, she helps him progress much faster in his research. They also decide to take on some living clients in their practice, the combination of her nursing skills, her way with people and her Chinese medical background, and his great knowledge of the human body soon making them sought after by the ailing rich.

Chapter 6

On the Monday of his first rehearsals, Adison insists on accompanying Vincent to the theatre. She knows he must get used to being among people, but she just needs to be there with him, see how he is treated and how he handles himself. She finds herself the only spectator, besides the owner of the theatre who is also the director of the play. On the stage, the actors meet. The lead players are a young couple, pretty and well-dressed, with a self assurance probably greater than their talent. Then there is the main villain, a really sweet older man, clearly the best actor of the lot. Vincent and him take to eachother immediately, and a valuable connection toward the 'real' theatre is made: this experienced actor, though fallen on bad times apparently through opium abuse, can teach him enough about the art of acting to get him to the next stage in due time. The director envisions the scenes one by one, the players run through them the first few times. From what she can see, Vincent does well. He knows his lines, has rehearsed the drama of his scenes with her carefully in preparation. The other players take to him quit well, except for the male lead, who audibly calls him a freak to the leading lady, clearly his lover. Of course this one will be trouble, Vincent is a direct threat to his position as leading male player. His girlfriend apparently doesn't share his distaste, she seems quite struck by Vincent even though he's a lot less good-looking than her lover. He has a certain melancholy air well-suited to the theatre. Hopefully she will get her man to guard his tongue, but Vincent doesn't seem to register the nasty comment. Anyway, the fencing lessons and the succesfull rehearsal have given him an air of quiet confidence, which will be hard to break by someone of good looks but meagre talents. Adison is glad to be here this first time, not in the least to stake her claim to Vincent towards this admiring pretty colleague.

After the rehearsal they get a guided tour through the back of the theater, where all the scenery is kept, as well as the ropes and pulleys for the special effects and the great stage lamps. Adison knows that the doctor would be thrilled to see the great lamps, his fascination with electricity by no means damaged by its horrible effect on Vincent's birth. Vincent just loves this hidden part of the theatre. The two stagerats demonstrate some of the tricks, and one can see that it is a very challenging task to run everything smoothly, so the public won't notice. It is hard work for the two strong boys, and Vincent wonders aloud how they manage to communicate with one another in the dark when they have to work quietly. Thrilled with such an interest in their work, they tell him that is is all a matter of closeness and routine. They know eachother so well, and have rehearsed each play for so long, that they think the same and feel the same. Adison gets the impression that they live together as well, and do a lot more together besides, adding to their closeness. She decides that Vincent must be safe in such a loving environment, where everything revolves around the thing he loves best after her: theatre.

One afternoon after their own fencing practice, Adison sits down next to the doctor, still sweating from their exertions. They are watching Vincent and the swordsmaster spar, and it is quite a sight to behold. The two men are wearing masks and protective suits, necessary at this stage because their blows are delivered with such speed and force that they would certainly kill or maim when striking true. Which they do often, for the swordsmaster still outclasses his student very much and challenges him to the best of his ability, always one step ahead, and ready to deal a strike whenever Vincent doesn't manage to keep up his defense. Though the strikes don't cut the flesh, nasty bruises do form where the sword hits, and Vincent is probably already covered in them again. But the armsmaster is not out of danger of getting a few bruises himself. Vincent's sheer strength makes it hard for his teacher to judge each strike, and sometimes one gets through the master's defense, just because the man has not ever met an adversary who looks so normal but is so supernaturally strong. This keeps fooling him, making these spars very educational for him as well, until he learns to judge his opponent better. With a last strike on Vincent's padded side the swordmaster calls it a day. He greets his opponent formally and leaves. The three remaining discuss what to do next: visit the bathhouse for a hot bath, or stay in and make do with a tepid shower.

The doctor has used his skill with vats, pipes and steam to make an adequate bathroom, but to get a really nice hot bath the boiler needs to be heated for nearly half a day. This takes too much time and fuel to do on a regular basis, making a visit to a bathhouse much easier. But there Adison is separated from her friends, taking away most of the enjoyment. So because today is a sunny day they decide to use the showers, which the doctor pressures with steam and the water of which is heated during the day by sending the water through long coils of black painted piping on the roof of his house, making the water tepid instead of icy cold. The bathroom is a really cosy place, where they can all shower together, if they forget about modesty and body shame, which they always do. Standing naked under the lukewarm showers, they all feel very content. Vincent has acquired some colourful new bruises, on top of the older ones already fading. Feeling a bit sorry for him, the doctor comes closer to take in the man's damage, and admire the spectacular colours. In doing so he notices the familiar scars from the cuts he put there preparing Vincent for his resurrection. They are hardly visible, and on an impulse he touches the one on Vincent's right temple. 'All actions have reactions, Victor,' a husky male voice says, using the doctor's first name for the first time ever, 'have you any idea what you are about to do?'

Adison is watching the scene unfold with some trepidation. She knows the doctor has a deep love for Vincent, but he can hardly guess what will happen if he keeps touching the sensitive scar. The doctor has heard the emotion in Vincent's voice, but he has mistaken it for residual anger over his cowardice at Vincent's birth. He doesn't want to goad him further, but he feels compelled to complete something, to not run away in fear again. So he traces the scar he caused, down Vincent's temple, across his neck, to his chest, feeling the tension rising in the powerful man, but not wanting to make the mistake of rejecting him once more. And suddenly he finds himself face to face with Vincent, held in the strongest grip he has ever known. The grip of the yellow eyes is just as inescapable, and the husky voice breathes: 'I have forgiven you your rejection, Victor, and now I find I love you, not like a son, but like a man.' And he kisses the stunned man straight on the mouth, keeping him in his iron embrace until the other gives himself over to the passion and returns it with a will.

Knowing Vincent better than her own self, Adison of course knows what is going to happen as soon as she sees the heat rising in him at the doctor's touch of his scar. Surpressing a flash of envy, Vincent knows the doctor exactly as well as she herself does, she watches the scene unfold with more than a little heat of her own. Seeing the man she loves holding a vulnerable and beautiful man in such a death grip, and witnessing him in his naked glory with all his passion unleashed, she feels nearly more elated than if it were herself that he was holding and kissing so fervently. She witnesses Victor giving in to his own slowly stirring feelings, and still marvels at his courage to face and even goad what he supposed was the monster inside Vincent. He thought he'd get punished and was ready to take it, as retribution for his former rejection, but he got love instead, love more passionate than he could ever expect to receive. For the doctor has never himself dared to allow himself feelings this deep, and shallow feelings elicit shallow returns. It is through his connection with two very passionate fearless friends that he gets to experience a love that is this profound.

Breaking off the kiss before he smothers Victor, whom he still has helplessly caught in his iron grip, Vincent looks around until he meets Adison's eye. Seeing in her understanding, admiration and a decided heat, without the slightest sign of envy or disappointment, he feels relieved and beckons her within his embrace. She has no hesitation, eager as she is for her own share of this newly found love, knowing Victor already has a decided preference for her, ready to give him as much love as he can handle. Together they lead the slightly stunned young man to their fourposter bed, where they give him time to catch his breath and get back in the now. Then they show him what feelings his body is capable of, not neglecting eachother in the process. So now the doctor finally knows what they do in that huge bed, when he is waiting to find sleep in his lonely narrow cot. Who would ever have thought that his pride and sacrilege, combined with cowardice and guilt, would bring him a taste of true love. Still wondering, he falls asleep, and rather than banishing him from their bed or even moving him out of the way, they curl up close, each on one side of him, and include him in their warm nest for one night.


	4. Chapter 4

Chapter 7

The next day finds the doctor up and about his business long before the others stir. Let them enjoy some private moments together before they regret letting him into their pact for a night. He did not imagine his deflowering this way, but then he never imagined it happening at all. Investing in a relationship never seemed worth the effort, and he always, rightfully he now knows, scorned the idea of paid love. Getting a taste of such intimacy as he experienced last night amazes him as much as that it was started by a man. A man he wronged so badly that he had expected to be hated by him forever, despite all his efforts to make up for his mistakes. He hopes Vincent's forgiveness and love will outlast the night, for besides their own value, they are the key to Adison's regard, which he also secretly craves. Meanwhile the lovers have awakened, and Adison tells Vincent how incredibly stimulating she found watching him release his passion on a man. 'You were just so incredibly sexy dominating him so totally. I love the beast in you, though when it is focussed on me it is more careful.' Vincent stretches his bruised body and replies: 'Because I love you more, I try to keep it under control, but sometimes it does get away from me. It scares me, though it doesn't seem to scare you, the way you tempt it sometimes'. Adison admits: 'I just feel you have to let it out regularly, let it spend itself, lest its energy builds up until you can no longer keep it under your control. And I really, really like it and trust it.'

A few weeks pass by with Adison and the doctor continuing to research disease through medical examination, using the knowledge they gain in their growing practice in medicin. They have managed to diagnose some cases that have been given up by other practicioners, but diagnosing is not curing. Yet. For they are planning to broaden their knowledge of possible cures as well. This is mostly Adison's field of interest, for Victor's main study object is still human anatomy, which he relentlessly pursues in all the hours he isn't treating patients, eating, sleeping, at arms-practice and spending time with his house-mates. He has a private workshop in a mortuary, nice and close to where most bodies end up before burial or cremation.

Looking for more dependable medication, Adison has taken up her instruction in the Chinese medical art again. The only way to get that instruction, is to visit the master who is willing to teach in the community centre in the Chinese quarter of the usually accompanies Adison on her field trips though his interest in medicin is still minimal. But soon he starts to enjoy his time in this exotic looking part of town, and it all starts with a new acquaintance. Most Chinese are not very interested in anyone outside their own community, though they do not mind sharing their knowledge with outsiders if they are willing to come and get it. Vincent is soon sought out by the one exception, a Chinese young man obsessed by everything English. He even has an English alias, Bruce. Through Bruce, Vincent discovers two Chinese traditions that soon start to intrigue him, meditation and martial arts. Bruce is a master of both, and loves to teach. Vincent immediately realises the personal benefit he can get from practicing meditation, improving his concentration and self-control. And as soon as he sees a group of people practicing some kind of non-armed combat which involves an almost acrobatical agility and again, incredible control of body and mind, it makes a lasting impression on him. He wants to learn this!

He asks Bruce:' Can I learn this?' Bruce answers:' Sure you can, everyone with two arms and two legs can learn, and even some without that many.' Of course, that is not what Vincent really means:' What I mean is, will I be allowed to learn, will I be able to find a teacher?' Bruce acts as if he is thinking really hard, concluding:' If one of our own is willing to teach, it is allowed. And as it happens, I know a master in both meditation and the martial arts, who is dying to upgrade his English and learn about English literature. He also has a secret passion for the theatre. But it is really hard for him to get lessons in this particular place.' Vincent takes the bait:' Can you introduce me to this master? I have an interest in literature and a starting acting career. I could teach this master both, in exchange for lessons in his specialty.' Bruce thoroughly enjoys the conversation, for of course it is already very clear that he ís the martial artist looking for an exchange of lessons. 'Where would you prefer to have the lessons?' he asks. Vincent answers:' The martial arts would be best to do here, and acting lessons sometimes require extra's, so having them here with plenty of people willing to help would be fine. Meditation, in the garden, literature, in our library?' Bruce holds out his hand and says: 'That is very agreeable to me, let's start immediately with some basic moves.' And they shake on their deal, then start a practice session which has Vincent lying in the dust within seconds. His respect for Bruce's art is growing with every move he learns, this is a means of self-defense where physical strength is of secondary importance, even a disadvantage if not under control of the user, for then it will certainly be used against him. The session leaves them both out of breath and very content. 'You're really strong,' Bruce says, 'once you've learned to control your strength you will be a real challenge for me. I'm looking forward to it, challenges have been few and far between recently.' From that moment on, they practice during the time in which Adison has her medical classes. Bruce has free acces to their home and their library, to help him with his study of literature and acting. After their visits to the community centre Adison generally retreats to her study to document her notes and samples and entrust them to their ever-growing library, whilst Vincent heads to the theatre for rehearsals. The doctor is always at his workshop, often staying out late to arrive just in time for arms-practice or dinner. Adison generally finds the time to supervise the small staff they have hired to perform household tasks, freeing themselves up for their increasingly succesfull professions, making life a lot easier to all of them.

Arms-practice has changed again, the swordsmaster now teaching all three of them but only once a week. The other days they combine shooting-practice with either meditation or martial arts. Bruce loves to come over to instruct them, then spend the rest of the day in the library. It is a revelation to Adison and Victor that his combat technique allows them to use the weight and strength of a much larger person against them, and they enjoy practicing it against Vincent. Of course he excells in this form of combat too, as if his muscles remember a very active lifestyle that he himself doesn't. He has quickly learned the unfamiliar moves of the martial arts, learning to control his strength. Seeing him practice with Bruce is like looking at a dance without the music. Bruce compliments all of them:' Adison and Victor, you have both learned the basics so well, that you can now hold your own against nearly any person who does not know martial arts. Just follow the forms and let their own strength do the job for you, then finish it. Victor, I don't know how you do it, but you may become a challenge for me any day now. I can feel your strength now, because your technique has gotten so much better I can no longer use it against you all the time. Will you three also teach me to shoot like you do? It's the weapon of the future, refusing to learn how to shoot would be suicide.'

In shooting, Adison takes first prize, though she uses a lighter gun than the men. All three find it weird to spend so much time on exercise they are probably never going to use, but they feel driven to it as if an unseen force directs them towards learning as many ways to defend themselves as possible. But Bruce seems to find it quite natural to train fighting every day, and it keeps them in shape and makes them feel a lot safer travelling all over always calls the doctor by his first name now, ever since their passionate night of lovemaking. They have repeated that excercise too, not very frequently, but whenever the doctor seems ready for it they draw him out.

Then the night of the play's first run arrives. Adison can see no anxiety or stage fright in Vincent, he knows what to do and trusts his fellow actors. His acting has improved immensely, with the rehearsals, the valuable help of his older colleague and tutor, and all the physical exercise and meditation he has been getting. He is fast friends with the boys behind the scenes, always staying patient on the rare occasion that something doesn't work as planned, always treating them like equals. Simon, the male lead, still dislikes him intensely, a feeling which is totally mutual. It doesn't help that Simon's girl clearly adores Vincent, for though her own partner is much more handsome and has the better part in the play, he also openly demeans her. Vincent treats her with respect, as he does everyone, though he'd rather never have met Simon. They still have to work as a team though, and here, meditation really has done wonders for Vincent. He wouldn't trust Simon for anything in the real world, but in the theatre, their own succes depends on all of the others, so he knows the arrogant lead player will behave himself.

The première of course is a great triumph. The public goes mad over the drama, the love, and the gallons of blood. Adison is so proud to see Vincent play his part as if he has been an actor for years instead of months. He was meant to be an actor, she thinks. Afterwards, he is clearly exhuberant: the action, the drama are everything he expected. The crowd and the fame exceed his wildest imagination. Instead of being taunted for his looks, as he more or less expected, people seem to relish his difference. He is celebrated, despite his small part in the play, and from the director's comments he knows he can expect a larger part in a next show.

Adison and the doctor enjoy his succes almost as much as he can do himself. They are so proud of him, observing the enthousiasm of the crowd as they wait for him to exchange a few words with the important people allowed to meet the actors, then change and take off the make-up.

In high spirits, they set off for home together. Stepping outside to walk the few blocks, they are busy talking about the play, not paying attention to their surroundings. And when in a deserted street they are surrounded by scruffy looking guys handling bats and staffs, they suddenly realise they're in trouble. With nobody around to help them, they will have to save themselves, unarmed. They count six men, not too many to handle if they are as badly trained as they look. Quietly Vincent takes charge: 'Victor, Adison, take your defensive stance and watch eachother's backs. Only engage if they attack you. Please take care of eachother, I'll take care of them.' And with this, he confronts the biggest group of ruffians. Two rush him, and even as he ducks under the blow of one, he aims a high kick at the other. The kick connects with a sickening crush, the man drops like a stone. Then Adison and the doctor are beset by two guys with short staffs, and she can no longer afford to look at how Vincent is handling his opponents.

Though she is quite a bit frightened, her training already takes over. She assumes the defensive pose of the Chinese martial arts, and waits for her opponent. On her right side, Victor does the same. The attackers don't recognise the stance and rush them. Almost in synch, the doctor and Adison take hold of their opponent's staff, and force the man holding it in a roll using his own momentum, landing heavily. They finish with a strong kick, and check if their man is indeed out of order. De doctor delivers another kick to the head to make sure of his man, Adison strikes hers with the staff she is now holding. Quickly, she looks around, first to see if there are others rushing her or the doctor, then how Vincent is faring.

Of the four men, all armed with clubs or staffs, only two are still standing, two are lying motionless on the ground. Though he clearly has been struck repeatedly himself, bleeding from several wounds and favouring his left arm, Vincent clearly controls the situation. As one desperate attacker comes at him with his club raised in a two-handed grip, Vincent simply evades the swing, takes his target by the throat with a single hand, lifting him a good foot off the ground, then crushes his windpipe casually. With the speed and agression of a leopard, he turns to face the last man standing, who does not hesitate for an instant and tries to run for it. His efforts are useless, for Vincent is already on him. Adison realises the beast is loose, her feelings torn between relief at his safety and fear of the guilt that will undoubtedly follow.

Fortunately the doctor is in time to save the last goon. Without regard for his own safety, he intercedes himself between his progeny and the hapless criminal, urging Vincent to leave the man alive for questioning. Coming to his senses,Vincent merely disarms the last thug, and follows the doctor to a quiet alley, dragging the man behind him. They question the man about his reasons for attacking them, and seeing his situation is hopeless, the beaten man quickly tells them he was hired by the lead actor of Vincent's company, to beat him up enough to get him out of the play and preferably out of acting altogether. This is all they need to know, and they leave him there and clear the scene quietly before the watch arrives with difficult questions.

When they are safely inside the house, Adison tells Vincent to strip, to see how badly he is hurt. Awkwardly, he tries to obey her, but his arm doesn't want to coöperate. Victor quickly helps him, and beneath his shirt they find a big bruise on his arm and several bleeding cuts on his back and shoulders. Victor rushes off to get his bag of supplies, whilst Adison checks Vincent's head for injuries and tests his responses to find possible trauma. 'I'm fine,' he says, 'just hurting all over.' Adison does not rest before she has cleaned and treated all his wounds, a little shocked by the evening but proud of her own fighting prowess. Victor decides to fire up the boiler: Vincent's face is clearly unmarked, and since his wounds are not really serious and he has no head trauma, that means he will play his role tomorrow as if nothing has happened, if the doctor knows him at all. But he will be stiff as a board and his arm will give him hell, unless he can soak the pain out tonight with a good hot bath. And having Adison in there with him may make a difference in how he copes with having killed three men, and nearly a fourth.

They all drink a cup of calming tea, sitting silently, trying to get a hold on what happened in that deserted street, after their merry night. Vincent observes:' He must really hate me, to have me attacked just after the opening night. It would have ruined the play for him as well.'

Victor leaves the lovers together to check on the boiler again. By stoking up the boiler really high, he can have a hot bath ready in a couple of hours. But he will have to check the boiler constantly, to prevent it from reaching a dangerous overpressure. Tired and in Vincent's case hurting, they stay together, not feeling like doing anything, not even going to bed. Then Victor surprises the other two with the hot bath, taking them to the big steaming tub and leaving them thick towels en scented soap. Vincent is awed :'How did you manage that so quickly! Thank you so much, Victor, that is just what I need to give me a chance to play tomorrow, and give that fellow the scare of his life!' Adison is no less thankful, although she is a lot less enthousiastic about Vincent playing tomorrow with the danger of foul play still unresolved and the wounds of his fight still fresh. But she does understand his reasons to want to go at any cost. Seeing only two towels, she protests: 'Surely you will join us Victor, you've had a rough time as well.' Not wanting to intrude on them, he starts to protest, until he sees Vincent shake his head silently:' I need you to be there, Victor, ' he says, 'Without you I would have killed a fourth'. Touched, the doctor runs off to fetch another towel, then helps Vincent into the soothing hot water, where Adison is waiting for both of them.

They don't speak of the attack and its implications anymore, leaving the decisions on how to deal with it for tomorrow. They soak in silence, and the hot water smoothes their overstressed muscles, invigoratingVincent. From the looks of him, he is almost free of pain, which would be impossible in a normal human, but which hardly surprises Victor anymore. He wonders if Adison has noticed, suspecting she probably has.

That night in bed, Adison has to deal with Vincent's guilt and self-loathing. He protected his loved ones, with no regard for himself. And now he pays the price for losing control of his violent self, killing in cold blood. Adison has found herself capable of violence too, but she is much more inclined to forgive both of them. But she knows he will not hear her argumentation right now, so she can think of nothing she can do except show him her love and trust. She is not sorry they were able to fight off those thugs, they might have been hired to just beat Vincent up, but they would surely have raped her given any chance. They would probably not have hesitated to maim or kill Victor and Vincent either. She knows he realises that, but he's not listening to his reason now. Killing another human for the first time is really hard, and he needs to accept he has done it, just as Adison has. When he does, he'll probably realise himself he had no other option.

As Adison lies awake, reliving the situation in her mind, she feels a tentative touch. Turning to face Vincent she realises he is as awake as she is. Touching her face tenderly, his face shows his disturbed feelings. Feeling his hands caressing her so lovingly, she inadvertently remembers those same elegant hands casually crushing a man's throat earlier that evening. If even she cannot look at him without being reminded of what he is capable of, how much worse must he feel? He practically begs her: 'Will you please touch my scars for me? I need to feel really close to you, but I don't feel like making love at all.' Adison is moved to tears by his humility, and is very ready to comply: she also needs to be as close to him as she possibly can, to show him she will always love him, every part of him. 'I will be happy to, my love, I have the same need as you. But will you promise me one thing? When he wants to come out, will you let him?' Vincent clearly doesn't get her: 'Why would you want to seek out that part of me? And you do realise it is me, don't you?' Seeing that it distresses him, she reaches out and touches his face, strokes his hair. She wants to kiss him, crawl into him, but she also wants him to understand. 'I know he is a part of you, that is why I want him to know, no, why I need to próve to him that I love him too. No matter what he does. He is the part of you that I first met, and came to love instantly. I want you to feel that I love the whole of you, and I have a feeling that this wild part of you needs the most comforting right now. He may be suffering the most.'

This is a plea Vincent cannot resist, and he bows his head in assent. Adison holds it, caresses it, breathes in the smell of his hair, and when he looks up at her again she kisses him deeply, reaching out for the scar at the same time, and tracing it down with an ever firmer touch. He has clearly answered her plea to let go, for his reaction is nearly explosive, not at all like his usual tenderness. In a fraction of a second, she finds herself held under his heated body, overwhelmed by his speed and strength. She is reminded of that time with the doctor, how seeing him this way exited her even just watching. Now she has him all to herself, and she meets his greedy mouth in a kiss charged with lightning. As she gives herself up to a lust she has never felt before, she can feel him responding to her total acceptance of his physical dominance. He realises that she not only accepts this untamed, unnatural strength, she glories in it. The frenzied need, the loss of control, they feed her. She has no fear of him. The feeling of total acceptance mirrors itself in their physical shapes and they merge totally, becoming more one than they have ever been before. Thoughts and doubts disappear, there is only now. When the climax comes, he no longer feels separated even from his own dark side.

Adison was right, is his first coherent thought. She knows him better than he knows himself. The violence in him, that part he so carefully separated himself from, is not as mindless as he thought. It would hurt someone out to do harm to him or his loved ones, just like Adison and Victor hurt men out to harm them. But it did not hurt Adison when she called it forth and he let go of it completely. On the contrary, she loved it, they never had an experience like this. Still feeling the need to be close to her, he moves towards her as much as is physically possible. She looks at him, feeling the same, recognising the experience he's had. She's a bit smug that she was right, but mostly relieved he has finally accepts his violent side. And she feels very satisfied by the sheer force of his lovemaking. Or does she? Feeling her need for his closeness still strongly, she slides on top of him, drawing him out in another lengthy kiss. And they find the way to be even closer together again, loving eachother again, only very quietly and tenderly this time.

Chapter 8

The next morning, they have some important decisions to make. They agree that Vincent should go to the theatre as he is supposed to, to play tonight's show. He will take a gun and long knife with him, to make sure he can defend himself on the way. But should he confront Simon, the male lead who set the gang on him, with his deed? Though confident now that he can stay in control, Vincent sees no use in exposing him. He wants to continue acting, and without lead actor there is no play. But he doesn't want to stay subject of his tricks either, who knows what lengths that one'll go to to remove Vincent from his life more permanently? The doctor and Adison don't like the idea of pretending nothing has happened, it would just invite other attacks. They all decide the best thing to do will be to inform the director. He hinted at the possibility of something like this happening, and also told Vincent to come to him if he was set upon. He'll want to keep his play running, but he can also help to protect Vincent from further attacks, if only by letting the other actors and staff keep an eye out. There are so many ways to have an accident in a theatre, with props and special effects possibly going wrong, that they are all very glad Simon was lazy and let others do the attacking. Staging an accident in the theatre would have had a much greater chance of succeeding.

Accordingly, Vincent goes to the theatre half an hour earlier than his usual time. They all feel some apprehension, though Vincent has proven repeatedly in the past that he can handle himself in a tight spot. He goes straight to the director's office and spills the beans. The director is shocked, even offended that one of his players would sabotage their livelihoods in this way. Then he is concerned about Vincent's health, both physically and mentally. He did have to kill to protect himself, and he is clearly stiff and still sore from the attack. Vincent ensures him he can play his role tonight, and has no problem facing Simon on stage. Having the director believe him is the most important thing. They decide to keep quiet for now, leaving Simon in the dark about how much Vincent knows about his involvement in the attack on him and his friends. The staff en the elderly villain will be informed and asked to also keep an eye out for foul play. The stagerats will do more than their regular checkups of all their equipment behind the scenes, and they will watch Simon from their hidden places backstage when he is in the building and not on the stage. Simon has always treated them with contempt, so they will be eager to catch him in some mischief. 'And when this play is done, he will be out on his ears, and you can take his place as my lead player, ' the director promises, 'I wish we could give him up to the guard, but that would be the financial ruin of my theatre, and besides, you did kill those men so they'd undoubtedly be asking you all kinds of difficult questions.' Like where I was born, and who my parents are, Vincent thinks, hoping they will count the bodies left in the street as signs of a gang war flaring up.

And that evening, the director does his own share of acting, welcoming his cast as usual as they prepare for the show, pretending this is a regular evening. But he keeps a sharp eye on Simon's reaction when he notices that Vincent is present and no worse for wear. And the lead actor's stunned, even shocked, reaction as he sees Vincent sitting at his dressing table, innocently putting on his costume and getting his make-up done, apparently unharmed and ignorant, speaks volumes of his guilt. The other staff have been warned and instructed to safeguard Vincent from further attempts, as long as he is in the building. Knowing for certain now that his lead player has endangered the financial future of the whole theatre and its staff and cast, the director makes his next move. He asks Vincent how well he knows the lead role. Having reheased together for months, every player knows at least half the lines of the other players by heart, inevitable for an actor if he wants to know when to deliver his own lines. Vincent estimates it will be two weeks work to replace Simon, having seen his scenes in rehearsal dozens of times. But who would replace his villain? It is a small role, but it cannot be removed from the play or added to the main villain's role. Vincent sees his chance: 'I may know someone with a talent for acting who could take on this part in the same two weeks. I'll coach him towards it. He's a friend of mine, a Chinese man called Bruce.' Never having worked with, or even seen a Chinese actor, the director wants to consider it first. But the more he thinks about it, the better he likes it, and he decides to give him a secret try-out in a week's time.

Vincent is amazed. Not only does the director believe his story, he is also determined to get rid of the snake in his group, and even willing to try out a total novice on his recommendation.

To the audience of that evening, something seems off. The hero of the tale seems a bit subdued somehow, as if the actor's heart is not totally in his role. And though he kills off the minion in a welter of blood, the new actor that everybody is talking about plays that smallish role with such fervor, and dies by the hero's hands with such pathos, that it almost seems as if the hero is the one who has sold his soul to the devil. But of course everyone knows that heroes are good and villains are bad, so soon Simon manages to convince himself that though his plan failed, no-one seems to know what he has done. And he soon gets his act together, playing the handsome hero flamboyantly again, not noticing that his prop sword is checked and re-checked everytime he has touched it, and that he is followed around and watched from behind the scenes wherever he goes in the theatre. As Simon starts to feel glad his attempt on Vincent failed, realising it would have cost himself too dearly had he succeeded, the rest of the staff is counting the days until the boss will confront him with his deed and thow him out of their group in disgrace. And only the director and Vincent know that that will sooner than anyone suspects, to have him replaced by the object of his hatred.

Seeing Vincent leave to go to the theatre has been very hard for Adison. She knows she can't go with him, but she has no clue how she will get through the day, not knowing how he fares. They visit their patients, then settle in the doctor's workshop in the morgue to study a new object, a body just arrived which apparently has some interesting muscle and bone deviations. Soon they are caught up in the dissection of the body, removing tissue layer by layer, carefully drawing and documenting each section before moving to the next layer. Adison has been tempted briefly to check the morgue for the thugs of yesterdag evening, mainly to see if there were any survivors. But she feels it might be too big a risk to seem too interested.

Suddenly there is a disturbance in the hall leading to their room. Victor, his concentration broken by the noise, is trying to work on doggedly, ignoring the rucus. But Adison, always the curious one, moves towards the hall to investigate. A small group of people is coming towards their room, led by one of the staff of the morgue, pushing a body-cart covered with a sheet. Three people are unknown to Adison, a beautiful but slightly sinister looking woman, a gentleman of about sixty, and, she cannot think of another word for the guy's looks, a cowboy. 'This is the man you are looking for', their colleague says, and heads back. The trio enters confidently, clearly irritating Victor even more, so much so that he does not acknowledge their presence and just keeps going. The party has not seen Adison yet, focussing completely on the doctor. She decides to leave things that way, see what happens. It is clear that the three visitors want the doctor to take a look at their body, but it is also clear Victor means to be stubborn about this. He greets his visitors with a sneer, not even looking up. His whole demeanor speaks disdain, such a difference from how she knows him. But the visitors will not be ignored. They seek to interest him in their corpse, finding it very important that no-one but him studies it. They adress him one by one, and still he will not budge.

Adison thinks it's high time to show their visitors that there is someone here who does have some manners. She walks towards them, and excuses him. 'Doctor Frankenstein is in a crucial stage of the process right now, he will be right with you.' She delivers this sentence with some force, reminding him that appearances must be met, to see bills paid. 'Maybe I can help you in the meantime, I'm the doctor's assistent.' At her mention of this term, the doctor stops what he is doing, but still he does not look up. The gentleman explains they have a strange body that they need to have examined. He lifts up part of the sheet covering it, so that Adison can see it. It is a shocking thing to see, a mockery of a human body, horribly disfigured, and clearly very evil. Victor, having seen the creature as well, can no longer keep up his disinterest. He jumps up and does a rough exploration of the hideous corpse, unable to contain his rising exitement. Adison quickly and quietly picks up the sketchpad and her pencil. She expertly draws a quick liking of the outside of the corpse as Victor studies it minutely, then, keeping up with him, she takes a new sheet, ready to start on the next layer once he uncovers it. It is even more disturbing, for it clearly proves this is not a human corpse. Sketching away, noting some of Victors comments in the margins of her sheet of paper as usual, she is visited by a premonition. The appearance of this group of people will change life as they know it forever, making the upheaval of Vincent's birth and the attempt on their lives yesterday seem like nothing. In an instant she understands why they have all felt driven to practice weaponscraft for no apparent reason, and why it felt so necessary that Vincent learns to trust his violent feelings, to free his supernatural fighting abilities. It was in unconscious preparation for a battle they will become involved in, whether they want it or not. The woman gives her a knowing look, as if she has heard Adison's premonitions, or has even sent them to her without speaking. Then they both concentrate on Victor's work again, and Adison finishes the sketch of the inside layer as well. It is very disturbing, like a diabolical book inside a person, and strangly, the gentleman and Victor seem to recognise the script. The doctor asks Adison to hand her sketch of the inner layer to the gentleman, not even requesting her to make a quick copy for his own use. Adison knows he feels the portent too, and she wonders if he is afraid at all. Strangely, her next thought is of Vincent, how he is faring at the theatre. She wonders what his role in all this will be. For to her, it is absolutely clear that he already has been assigned one, and that it will be profound.

The gentleman tells Victor that he will show the drawing of the hieroglyphs, for that is what the reliefs on the monster's skin are, to a specialist in Egyptology, and that he will let them know their meaning. He also warns them that getting involved in this matter is very serious business, and probably very dangerous to both of them. But Adison and Victor know that there is no escape for them, they will have to see it through. They make their formal introductions, and agree on a time and place where they will meet next, just a few days from now.

They return home in a strange mood, have a cold dinner and go to the theatre to see Vincent play. He seems triumphant, outshining Simon who seems disturbed. The meeting with the director must have gone well. They return home without incident, and Vincent tells them his news. He is elated, but soon notices his companions feel totally different. Are they afraid of repercussions, or that the director will not keep his promise? He soon finds out their mood stems from a totally different incident, as they tell him about the disturbing, evil body. 'How do you know it is evil, Adison?', Victor asks in surprise. 'It was a very ugly, disturbing sight, but how can you be so sure?' 'I just knew. That thing practically screamed it at me. Will you make fun of me when I tell you that that thing and Miss Yves caused me to feel a strong premonition?' There is nothing funny about her demeanor as she says this, and somehow they cannot shrug her words off as female exaggeration of a nasty looking body and a woman with a disturbing aura. Adison is as accurate in her observations as the doctor, and she fears almost nothing. 'What was your premonition?', Vincent asks quietly, his earlier exhuberance gone. Somehow, her dry tone makes the fact that she has foreseen the future real, and kind of scary. For he can see she foresaw nothing nice. 'I suddenly knew that the appearance of that particular group of people would change our lives and our world forever, and that we have been driven by fate to learn weaponscraft to prepare for that moment. That we would become involved in a great war, and that it was important that Vincent learned to trust himself completely, to be able to use his full potential as a fighter.' Without speaking, Vincent gathers her to him, and takes her in a crushing embrace, not able to envision grave danger and a world at war, but still believing her utterly. As soon as he touches her, he is stung by a flash. Is it foresight, is it a memory from a past beyond the boundary of death? He sees himself, dressed in a midnight black cloak, hair streaming behind him, on a big black charger galloping through a village at breakneck speed. The sky behind the village is glowing red. Him, a rider? He has never ridden a horse, let alone such a spirited one. Instantly, the image is gone, leaving behind a feeling of determination. He will protect Adison and he will protect Victor, no matter what lies in the future or has been his past.

As they sit down on the fourposter bed, Vincent tells the other two about the flash. Adison knows this may have been his first memory from before his death, and she asks the doctor for more information:' Where did you get the body, Victor, was it from the morgue?' In an instant,Victor decides to tell the whole truth, they deserve to know and he realises half-truths or lies may turn out to be really dangerous in the time to come. They must be able to totally trust one another. 'When you were brought to me you were not yet physically dead. The watch took your body to my workshop instead of the morgue, because the body was still on the brink of death, having its skull cracked in a bar-fight. There was fluid in the brains, making them swell and cutting off the bloodflow enough to put you in a deep coma. You probably wouldn't have survived for more than a day or two, the brain slowly dying of oxigen starvation. I'd seen it before in cases with head injuries, and I knew I could repair the damage, but not without killing the patient in the process. Since the rest of your body was in excellent shape, strong, well-muscled and clearly very healthy, and the physiognomy of your head promised a good intelligence, I decided I was finally going to perform the resurrection I had been planning for a long time. I had no doubts I was going to succeed in creating life, but of course, had the body been seriously damaged with wounds or sickness the body would have just immediately died again after the resurrection. I did not expect the pain of the lightning strike to be so severe, nor the shock of coming to life so great. I also never realised my suturing was so abominable, no patient had ever complained.' Here, the doctor smiles wanly, he's not one for showing humility. ' I'm still very sorry for what I put you through, Vincent. Though I am also very glad that your heart was great enough to forgive me, even love me in time, and that you and through you Adison, are now part of my life. But I digress. Your clothing was well-made, of good quality materials and not worn. They were black, mostly, trousers, cloak, vest, only your shirt was pristeen white, or had been before you bled on was no mark of ownership on any of it, and any valuables that might have been a clue to your origin had been stolen, probably by the watch, for they had not bothered with your clothes. No one of your description was reported missing, I checked that before I took the next step, which is something I'm not proud to tell the both of you.'

He stops for a moment to look at his friends, hoping they will forgive him the deed he will confess.'I prepared everything I needed, brought your body to the attic where you found us, Adison. The old man a few blocks away had predicted a severe thunderstorm that night, and he is never wrong. Also, my barometer fell immensely, so I knew something was brewing. I readied my apparatus, directed the metal rod through the roof towards the sky, and waited for the storm to hit. When thunder started to rumble, I smothered the unconscious man with a pillow. When he was dead, I opened the skin on his skull, to remove the piece of bone pressuring his brain. I had to, or he would just have sunk into a coma again. I assure you, the operation would have killed the body, so I couldn't have cured him. I say him, not you, for I think you are a different person now, though you may share some general traits and certainly muscle memory, for he was clearly a good fighter. He must have been killed through foul play, by someone sneaking up and delivering the blow to his head from behind, for he had no other wounds and he would have put up a fight. I also opened his chest to see whether his heart and lungs and organs were in good condition, again not realising the impact of that act on the living person I was creating. I have improved in empathy since then, I hope. For I was a hopeless arrogant and never thought beyond my own triumph. Well, I did like the idea of getting a friend but never planned for raising him until he could speak or be left alone without fear.

When my preparations were done the thunderstorm was right above us. The air started to crackle with the electricity, and the lightning struck. And you came to life, not peacefully and intelligently, as I expected, but in agony and forgetfullness. And if I hadn't insulted God beyond reparation by taking a life in arrogance and then cheating death in even worse disdain of His rules, I would now pray to thank Him that Adison turned up, or I am sure I would have lived to regret the day I created a monster.' Adison recovers her voice first and says:' And somehow I'm sure that would have decided the outcome of that premonitional war before it even came to be.'

Vincent greatly objects to Adison attaching such a large importance to his existance, either as frenzied, raving monster, or as knight in shining armour. Not because he doesn't underwrite Victor's belief that he would have turned in a monster without Adison's love and acceptance, he totally believes that, too. But to make such a large difference he'd have to be like a god, and he strongly objects to the hubris of that idea.

So he calls out:'And now I've heard enough premonition for a day, and lived enough dreams for a week, let's make some fun. If something bad is coming, all the more reason to enjoy life when we can. If you two throw together some food, I'll brave the cellar spiders to hunt out some vintage bottles sent by Adison's dad.' And they do prepare a good meal, crack open one of the fine bottles of wine, and have an impromptu feast. And for good measure, they open and finish another one. Victor, relieved to have no more secrets from his friends, and not a little drunk, dares to speak out a wish:' Would I be hoping in vain if I was starting to imagine you two and me having some intimacy tonight?' Adison looks at him encouragingly, but Vincent pretends not to have understood his somewhat formal request. He rolls his yellow eyes, scratches his head with a quizzed expression, until his face clears and he finally understands. He then quietly walks up to Victor, throws him over his shoulder in a one-armed fireman's grip, offers Adison his other hand and legs towards the fourposter in a joyous mood. He dumps Victor on the bed, and offers his lady to also take place, and they proceed to try out all the different ways in which two male bodies and one female body can fit together, until they are all sated and extremely tired. Then they fall asleep in a tangle, and sleep tightly until dawn is a lovely memory to other people, who were awake to see it.


	5. Chapter 5

Chapter nine

That week, Victor is very busy examining the alien corpse. He receives an invitiation from the gentleman, now known as Sir Malcolm, to meet him for dinner at his gentleman's club, where ladies are not allowed, no matter how brilliant they are:' I'm sorry Adison, they're probably afraid you'd make them look foolish. Still, it's a job and it pays.' When he returns he has the commission, and an appointment to further examine the body, now stored in the basement of Sir Malcolm's town house. This time Adison does accompany him, sketchpad ready though she knows Victor will question this. And indeed he asks: 'Why would you take the trouble of sketching the body, Adison, when you already know they can take photographs?' Adison says: 'I'm surprised you ask, Victor, you always sketch every tiny detail of everything you uncover. You've even invested quite a sum in a filing cabinet made to your own exact requirements, so you can always find them again.' Victor replies:' Yes, but I sketch because I can't afford a camera yet. As soon as we have the funds I was planning to buy one. It would save a lot of trouble, I thought.' Adison is not so sure:' Taking the photograph seems quite a hassle, lugging the machine around, using that stinky powder, hoping the exposure is just right to make the photograph succeed. You cannot put the body back together if the photograph fails. And then there is the developing, you need a dark room, with chemicals, and again you have the risk you ruin the film and lose the images.' Victor is impressed:' You seem to have thought this through quite well, I only saw a beautiful picture with natural structures and a lot of detail.' And Adison is not yet finished: ' And nobody knows how long the photographs will last either, they may fade in a year. I've seen drawings from centuries ago that are still vividly detailed...' Victor concedes:' All right Adison, I'll save our money for now and continue to draw. I need to practice anyway, to keep up with you.' Adison enjoys his compliment, still unsire about her own skills, but then she makes her most important point:' And that is not all, the most important reason for me to keep drawing is observation.' A questioning look from Victor makes her laugh:' Let me explain: to take a good photograph, you need to check the lighting, and frame the subject well. To make a good drawing, you have to really _see_ what you are documenting, you need intense concentration and a keen eye for detail. I'm convinced that through drawing, we discover facts we would otherwise have missed.' Letting that sink in, she adds her last motive:' And anyway, I want a copy of the creature to show to my Chinese teachers. They may know something more. Let the threesome concentrate on their photographs, I'm going to make drawings and try to take them home with me.'

When they arrive, they are admitted to the house by a broad shouldered, very black skinned man with curious tattoos in his face, in a butler's uniform. Adison greets him politely, then she and the doctor are taken to the saloon, where Sir Malcolm and Miss Yves are waiting. From there, they set out for the basement, where the thick skin, an exoskeleton like that of an insect, has been removed from the body. The doctor asks: 'How did you manage to do that, in such a short time and so neatly?' Miss Yves answers, proud of her own cunning idea: 'We used carrion beetles to eat it.' Impressed that she has thought of such an unorthodox method, they do wonder if it wasn't a bit risky: suppose the beetles had eaten the hieroglyphed layer as well? Their study object would have been ruined. Victor discusses the markings and their implications with their employers, and Adison concentrates on sketching as exactly as she can. Then he draws blood in a syringe, and still she sketches. He looks at the blood through a microscope, deducing it is clearly human, or has been once. It looks like blood of a person suffering from a contagious disease. He invites Adison to check it out as well, which she does. But neither of them know much of blood, so Victor advises Sir Malcolm to consult a haematolgist, which Sir Malcolm delegates right back to Victor, because he will understand the results best. As the gentleman is willing to pay for both the consult and Victor's efforts, they agree that Sir Malcolm will find a specialist and arrange for a consultation. They return home, weirded out by the body, but no less by the restless, dark aura of Miss Yves, and the incredible hardness of Sir Malcolm. 'These are not people to trifle with, Victor, ' Adison says, 'I still feel quite anxious in their presence. 'And this from Adison!

Pushed by portents and premonitions, Vincent decides to limit the time until his rise to lead player to one week. He contacts Bruce, and they spend not only the usual time together in the Chinese quarter, but nearly every waking hour, rehearsing lines, staging the drama. Of course, Vincent has to play his part in the evenings, and he arranges for Bruce to come along and watch the play every night from a different angle, from a balcony, from the main hall, from behind the scenes. The stagerats like him very much, he is interested in everything and always ready to whisper a funny observation at an appropriate time. He is introduced to the director in secret, and only Simon and his girl do not get to meet him.

Because they spend so much time together, Bruce inevitably notices that the atmosphere in the doctor's house is more subdued than usual. When at the end of their week of rehearsals the tension is still palpable, he does not hesitate to just ask what the trouble is. Vincent decides he trusts him enough to tell him about the horrific body, of the premonitions of Adison of a war coming and of his own strange flash, which is not easy since he doesn't feel ready yet to explain to Bruce that his memories of his life do not extend further than nearly one year. Bruce is not surprised. He tells Vincent that his community has been watchful for years now, expecting this war against evil. He also seems to know Adison will have a role in it, as well as Vincent. 'Why do you think we have let you into our community so easily, and shared so much knowledge with you? We have been aware of Adison since she was born, and we have befriended her family to be able to keep an eye on her. Did you know she has a priestly name in our language, which translates best as 'well of feelings'? If she were one of us, she'd be a high-ranking priestess already. As it is, we watch and wait until she is ready. We did not get sight of you until about a year ago, but it was clear straight away that we would do best to ally with the three of you, hand you the knowledge you need, and stand behind you, for the danger concerns us too, and only together will we be able to save everyone. Our magic is powerful and unknown to the enemy. From what you tell me I know that the time of your testing is near, and so we will start teaching Adison less medicin, and a lot more magic. How it surrounds us even though most of us don't see it, how it is involved in our lives where we least expect it. Our enemy is very fond of blood magick and sex magick. We must all be very careful whom we sleep with, and with any blood we spill, especially our own.'

Thinking of his birth, Vincent says: 'A year ago, I lost a lot of blood, is that why you suddenly noticed me?' Thoughtfully, Bruce answers: 'Not entirely, no. The blood was only part of it, there was some ritual involved as well, as if you only then became whom to us you were meant to be.' 'And is the enemy aware of me as well through this?' is Vincent's deduction. Bruce states:' We think the enemy has been aware of you long before that, but he has had to change his plans for you after the sacrifice you made that night. You might say the doctor and you escaped him narrowly.' This is all a bit much to take in, so Vincent decides he has had enough. He'll have to consider things first, hopefully he will have time to get used to this new state of affairs before things get serious. Meanwhile, they have a role to learn, and they continue their rehearsal doggedly, until they can both dream every line and every action. They are as ready as they can be, the only thing left to do, is prove it in the spotlight, tomorrow night!

This time, Adison and Victor accompany Bruce and Vincent to the theatre. There will be a row when the director confronts Simon with his deed and has him removed from the theatre, and they prefer to be present, to enable the two men to concentrate on their new role instead of their safety. As it happens, Simon takes his dismissal quietly, packing his things and leaving without a scene. But everyone knows this is not the end of it, he will try to get his own from anyone involved, Vincent mainly, but the director as well, and Bruce and even Maud, Simon's lover. For she will have to be convinced to continue her role, only with a different hero. Everyone thinks she will have no problem doing it, for she has not been treated well in her time with Simon, but it will make her a target for his revenge, and she'll have to find a new place to live, for it is not safe for her to return to their shared appartment alone.

Because Maud has only just heard that her lover has been sacked from the play due to his efforts to get a fellow actor beaten up, possibly killed, and that she will play with his intended victim from now on, they take the time to rehearse the whole play once before the show tonight. It will also give Bruce the chance to get familiar with the stage, for he has never performed for an audience before. Vincent does not know what to expect from Maud, so he asks her:' Do you mind having me as your partner so suddenly?' She has always had quite a liking for him, and what Simon has done is unforgivable to her, too, so she can honestly answer:' No, I don't mind one bit, I'd rather have you than someone I don't know, at least we've been rehearsing together and playing together already.' ' But not as intimately as we will now,' he says, ' I can imagine you might find me unnerving to look at from up close, you know, the scars on my face, my unnatural eyes.' But here he understimates Maud. She may not be as sophisticated and well-schooled as Adison, she is not easily scared either, and most of all, she is a professional actress. Her answer is exactly what he hopes to hear:' Don't worry about your looks, they don't matter to me. I will play my role tonight, and I will play it well. I always do, it is my job, and I love it. Actually, I'm looking forward to playing with you from now on, you have always been nice to me and you are a very talented actor.'

As they go through the play scene by scene, she finds she is rather looking forward to her more intimate scenes with Vincent, he is such a kind and even-tempered man. When the opportunity to exchange a few words presents itself, she confides to Vincent:' Your scarring doesn't bother me at all, my own brother has had a burn accident that left him badly scarred, I don't even see those scars anymore. I kind of like your looks, you always look slightly tragic and I think that fits incredibly well with the character and costume of the hero.' She looks straight at him, wanting to touch his face, but holding herself back as she says:' Your eyes indeed have an unusual colour, seen this close. But they don't look unnatural to me, their expression is friendly. You are always friendly, not gloating or triumphant even now. I appreciate that.'

When he finally takes her in his arms in the first love-scene she feels his strength, and her body reacts to his unfamiliar smell and his hold on her with a stirring of lust. She quickly checks it, steeling herself for now, thinking she may have a chance later. They will be playing this scene for weeks on end, there is plenty of time for her to see if she has a chance against his beautiful but unremarkable girlfriend. Remembering this when the time comes for the climax of the love-scene, she kisses him as an actor, not like a lover as she always did Simon. The audience won't notice the difference, but it wouldn't do to put him off her by being too forward too soon. Vincent is very much relieved. He has of course noticed her physical attraction to him, but he wants to be a professional, so whilst he would not have liked her to kiss him for real, he would not have reacted if she had done it. Bruce's warning about the enemy using sex as a tool for magick has struck a chord with him though, and he is convinced that even a kiss is not harmless.

That night, the play runs perfectly, and Bruce does very well. Vincent kills him with a relish, and the fake-blood runs freely. They end on a high note, and the whole cast feels like one big family.

They take their places before the stage for their usual meet and greet with important people from the audience. Vincent of course gets most of the attention, his interpretation of the hero being more melancholy, less self-assured than Simon's, making the ladies feel just a little warm inside. The people he gets to meet afterwards are regular visitors, and they have enjoyed the change in actors very much. They seem to see it as a publicity stunt, to convince people to visit the play for a second, or a third time. The inclusion of a Chinese man in the cast they see in the same light, it refreshes the play and makes people want to go and see it again.

Adison and Victor also approach him in the line, the first time they have done this. Usually they wait until they walk home together to talk to him, and he soon finds out why they want to speak to him now. First, Adison gives him a passionate hug, her dress emphasising her beauty, and her overt affection contrary to her nature. He realises instantly that that is meant for Maud, to let her know he's still taken. Trust Adison to be subtle where possible, and blunt where it is needed. But then Victor walks up to him with a very beautiful woman who nonetheless looks, well, wrong somehow. He knows who she is even before Victor mentions her name: 'Miss Yves, let me introduce me to the star of this show, our friend Vincent. Vincent, Miss Vanessa Yves is one of the party that has given us a challenging new subject to study.' Miss Yves is apparently a modern woman, for she does not curtsy or hold out her hand to have it kissed. Instead she offers to shake hands like a man, which Vincent readily does. But as soon as their hands touch, he receives a shock like the one he got a few nights ago, and as then, a scene unfolds before his mind's eye. He is lying in a hummocked field of low purple-flowered shrubs, under a wild, cloudy sky that threatens rain. The landscape is very open, with no houses or roads, surrounded by craggy hills that are also covered in that purple shrub. Heath, comes to mind unbidden. And he is not lying there on his stark black cloak alone, but he is being loved passionately by a beautiful, wild looking but clearly well-to-do girl, who is blond, but certainly not Adison!

'Mr Smith, are you allright?', Miss Yves asks concernedly. Smith is the surname that he has taken, well, to have one. Actors need to have last names after all. He's planning to take a 'real' surname somewhere in the future, when he has earned one, so to speak. But for now, Smith will have to do. 'I'm fine, thank you,' he assures her, hoping she will not touch him again in her concern, and thinking again of Bruce's remarks about magick. Is she trying to put a spell on him, consciously or unconsciously? He resolves to ask Bruce about it, but for now he needs to appear unshaken, so he plays the rising star with her:' So Miss Yves, do you prefer these gruesome tales to Shakespeare, or do you appreciate them both?' They discuss the play, his sudden rise to the lead role, as well as Shakespeare, the great poets and more safe subjects, until it is time to change and go home.

The doctor and Adison meanwhile talk to Bruce and the rest of the cast. Bruce speaks to Maud:' I can take you to your appartment to fetch your things, and then you can stay with my folks for a few weeks, until you find your own place. They won't mind.' Maud knows she doesn't want to stay with her own family, possibly endangering them with Simon out there looking for revenge, but protests:' But that would put your family in danger, I couldn't possibly do that to people I don't even know!' Bruce reasons with her:' Everyone in my family is well-schooled in self-defense, and our community is so closeknit, that everyone knows what everyone does. The Chinese quarters will be the last place that Simon would look for you, and if he does come there, his looks will make him stand out like a beacon and I'll know of his presence in a few minutes from his arrival. 'I can take you to and from the theatre everyday, since I'm going anyway, ' Bruce adds. Now Vincent speaks up: 'Bruce is an expert in martial arts, Maud will be safer with him than with anyone else. But I wouldn't visit her place alone, Bruce, take the boys with you if they are willing and the Boss lets them.' And so it is arranged that the technicians will help get her stuff, and she will move to the Chinese quarter for a few weeks.

As they walk home, of course they are reminded of the attack, but with the new developments they find it hard to be afraid of another attempt on their lives. If they are not ready to meet anything a poor, cowardly actor with no job or connections can throw at them, their plans to get involved in the case of the gruesome body are sheer foolishness. So they stay alert but they do not let their memories spoil the triumph. Like a teenage girl with her first crush, Adison walks hand in hand with Vincent, looking at him admiringly. She thinks he is fabulous, the best actor and the best man a girl can have. 'So what did you think of Miss Yves,' she asks, 'isn't she gorgeous?' Vincent has to admit she is, but she gives him the creeps more than anything. He replies, as smitten with Adison as she is with him: 'Indeed she is, but not as beautiful as you by far. And not nearly as talented.' The doctor makes a gagging sounds and moans: 'You two, get a room! Next you'll be writing bad poetry about your love everlasting!' They kiss teasingly and Vincent says:' She does know a lot about theatre and art, and she seems genuinely a nice person, interested in other people. But she gives me the creeps bigtime, in fact, she gave me one of those flashes, back- or forward, when she touched me. This time, I was lying in a large field of purple coloured bushes which I knew were called heath. The hills around me were clad with it as well. I saw no roads or buildings. The sky was clouded as if a storm was coming. And I was making love to a wild and beautiful girl of good breeding, who did not look at all like you! Do you think that it was a scene from my past? Or was she just trying to put a spell on me? Bruce told me the enemy uses a thing called sex-magick.'

'Bruce?', Adison and Victor say almost in unison. 'What does he know about magic?' 'Apparently, quite a lot, I'll tell you all over a glass of wine. You'll need it. By the way Victor, I liked how expressive you became with a little wine in you,' Vincent continues their earlier bantering. 'I didn't remember you being so forward, or experienced. I assure you, you found places that turned me on long after I thought I was totally spent.' Adison joins in: 'Yes Victor, how did you do that? You seemed to have an uncanny knowledge of parts of a woman that one cannot see from the outside!' Looking at them both shyly and appraisingly, to see exactly how much fun they are making of him, he replies in the same tone: 'Science my dears, science. I know the secret of everlasting lust in men, having plenty of time in my lonely bed to experiment, and of course I am not limited to looking for lustful places only on the outside of a woman. I found, documented and filed them all.' 'You wouldn't!' now it is Adison's and Vincent's turn to exclaim in unison. '' Of course I would,' Victor retorts, 'You know I have done worse things in the name of science. They're just parts, like all the others.'

'Well, if the results feel so incredibly good, maybe we should accept the superiority of science over lust, ' Adison admits. Vincent adds:' You can test your experiments on me any time'. Looking Vincent straight in the eye, Victor says: 'I rather liked it when you first kissed me, when you held me in that inescapable grip. I was completely helpless, it made me feel so safe, and at the same time it turned me on like nothing before or since. I'd like you to let go again someday, to hold me like that again.' Looking at Adison in wonder, and seeing her flush in fond remembrance of their own rough coupling, Vincent cannot deny it any longer. Exasperatedly he cries out: 'All right, all right, you two lustful fiends, I'll let that nasty bugger out to dominate the both of you. Just please not at the same time!' They laugh, both having to admit that watching him have violent sex with the other is possibly even more stimulating than being held in that iron embrace themselves. 'Well, you both know what to do to set me off. You decide who gets to go first, and who gets to watch and be pleased in a more 'scientific' way afterwards. Can I please get some food and some noble vintage in me first, to build up some strength?'Of course they agree, but the anticipation is enough to make them both flush like teenagers throughout dinner. Or maybe it is the wine after all. In any case, Bruce's magic and wild ladies from the past will have to wait.

Chapter 10

But deep in the night, they find out why Sir Malcolm pays so well. They are all fast asleep, when a strong knocking on their door drags them out of their sleep. Vincent is not so rueful about being wakened, he has slept fitfully, dreaming of riding through the heath, on a coal black horse. The spindly low shrubs covering the hills around him are no longer in bloom, leaving a colourless, desolate landscape behind. This time, there is a house, but it doesn't do much to enliven the treeless, drab coloured hill it stands on. It is a huge, castle-like building of weathered sandstone, built to withstand a ruthless climate and in its prime probably neighbors who were just as ruthless. Now, the shutters are in disrepair, the gate askew. A small kitchen garden is set upon by nasty strangling weeds that cover the rest of the garden. One window is open, the drapes fluttering in the chill breeze. A steady rain pours down on him, he can feel it even in his dream. A shape appears, framed by the window. It is the girl of his tryst in the heath, hair down, a flimsy nightgown too cold for the season barely covering her. She is crying madly. He feels as if he is just a spectator, not only in his dream, but in the real memory as well. Then he awakens, remembering everything vividly.

When Victor opens the door, Sir Malcolm's manservant is standing there, in a rush to get him over. He tells him his skills as a doctor are needed this time. The doctor decides they will all go, he asks Adison to bring her general cures with her and some Chinese stuff. Vincent has already dressed and has chosen a gun and a short blade for their defense. He introduces himself to the manservant, Sembene, figuring the dangerous looking man is more than just a pawn in this game his master is playing. The man has a solid handshake, and rather expecting, even fearing, another flash from someone of this company, this guy is quite the opposite: his touch feels grounded, annulling magic so to speak. Quite a relief, and a good man to have at your back, Vincent is sure. When everyone is ready, they enter the carriage waiting out front, and drive off.

They arrive in the same basement but in another room than where the corpse was, just in time to see Sir Malcolm ready to take a horse whip to a teenage boy, shouting at him in a frenzy:' Where is your master!' again and again. They see the cowboy step in to stop the blow before it lands. The boy has clearly been severely beaten already, but shows no sign of weakening or breaking under the abuse. He looks rather wild in both his physical appearance and the expression in his eyes. One might say he is totally mad, or even possessed. Examining him as well as a raving madman can be physically examined, Victor tells Sir Malcolm: 'If his madness comes from the same affliction of the blood that the dead body had, he might improve if he receives a blood transfusion. If that works, it may be useful for other victims, like your daughter.' The cowboy rightfully objects to using a child as guinea pig, but even Adison can see that the situation is not normal. Though it is hard on the child, the harm done to him before they caught him is probably irreversible, so anything they can do for him would be a mercy.

Meanwhile, Vincent remembers his conversation with Bruce, and what Bruce has told him about Chinese magic. He draws Adison apart and quickly summarises their conversation a few days ago. She guesses that a Chinese herbal remedy may offer the boy some relief, giving the doctor and herself some time to think of something else, maybe consult her Chinese teachers. She still has the sketch of the body to show them, and as they apparently know something profound is happening here they might have some answers or at least more information. She quickly inventories what she has with her, finding one concoction that may be useful. She calls Victor over, to dicuss it:' I have a remedy to strengthen Chi in those who are sickened with parasites and infections. Maybe it will also weaken a possessing entity for awhile, to buy us time to find a better cure.' Victor agrees this may be their best shot, and proposes it to Sir Malcolm. Surprised at the girl putting herself forward, the gentleman realises she is not the doctor's assistant but his colleague, with expertise in her own field of knowledge. He is still a bit doubtful, being a member of a male dominated society can after all deform one's judgement quite profoundly, and having been used to strong and well educated women but not to truly expert ones, he needs a bit more convincing. 'Adison treats all our living patients, Sir Malcolm, her talent for healing is almost renowned.' says the doctor, with an almost unnoticable look towards Vincent. Vanessa immediately notices, and she wonders, has this soft looking, pale skinned actor man with the disconcerting eyes something to do with the doctor's little secret? Did Miss Adison heal him with her talents? He doesn't look sick, but of course that would only prove her powers. She means to find out.

Sir Malcolm decides to try the concoction, and to let them know the results. Victor promises to follow up on his idea of blood-transfusion, having an appointment with an expert, a doctor Van Helsing, the next day. But how to give the rabid boy the cure? His madness makes him incredibly strong, and his possession makes him even more dangerous. 'We'll have to force feed it to him, taking care he doesn't strike out, or gets hurt badly himself,' says the cowboy, clearly a real American by his accent. Vanessa is very surprised to hear the actor add:' And don't let him get even a taste of your blood, the magic his master can do with that would lead to much greater harm than the boy could ever do to you in person.' She can feel her jaw drop. It sounds like good advice with blood seemingly the centre of this affliction, but how can he be so certain of this: he's an actor!

Having heard him speak, Adison apparently has thought of a solution: 'That's it Vincent, if anyone can hold him it must be you. And if you hold him, I can force the potion down, I've done that before even with patients unwilling to swallow.' Now Vanessa starts to seriously doubt Adison's sanity, just when she was ready to set aside her prejudice against the girl's meek appearance: how can she believe that that soft skinned, soft-spoken man can ever hope to hold a possessed wild creature, when two hardened men can't do it? But with an:' Allright I'll do it, but Victor, please keep his teeth out of my neck!', he moves towards the boy with incredible speed, and has him in an iron grip with both arms pinned to his scrawny body in an instant. Victor has nothing to do, for the pale man's hold on the boy is so absolute that he can't possibly move a muscle. Adison moves in fearlessly, a lot quicker also than she looks. She touches the boy's face lovingly for a moment, and in a moment she has the bottle drained between his cramped jaws like magic. 'An old nurse's trick', she grins at their stunned looks. She clearly has no fear at all that the possessed boy will escape her friend's grip.

Correction, Vanessa thinks, lover's grip, recognising the flushed look Adison gives him as she is finished and he prepares to let the boy go without giving him the chance to bite or claw, or even strike back. She's been in that grip before, and she loved every second of it, Vanessa realizes with a short stab of jealousy and a slightly heated feeling of her own. She doesn't often err in judging people, but clearly she let herself be taken in by Vincent's stage persona and his conversation in the theatre. Of course, he _ís_ an actor, she reminds herself, and having no beard whatsoever would make even a man with more masculine features look soft. But now she knows why they have insisted on taking him along: supernaturally quick and strong, and if he knows how to use that sword as well he's a powerful cure for robbers and footpads. And for what they themselves are after, she realises, heaven knows they can use another good fighter when it comes to cleaning out another of those infestations of monsters.

Meanwhile, the potion seems to have had some effect. The boy is more quiet, the madness calmed a little. They prepare to leave the boy for the rest of the night, Vanessa deliberately accompanying their guests to the carriage that will take them home. All shake hands, and though Vincent feverishly thinks of an excuse not to touch Miss Yves, he cannot think of one. And she seems determined to come really close to him, studying his eyes, for the first time noticing the large scar on his right temple. Taking his right hand with one, and moving towards the scar with her other hand, she says:'I only see this now, this has healed very beautifully. It must have been a terrible wound. Your work, Miss Adison?' And though Vincent cannot help making a run for the carriage, it is already too late, she has touched him there, of all places. He just manages to get inside before he is hit by the strongest flash so far. Fortunately, no one can see him where he has collapsed.

Adison covers for him expertly:' I'm so sorry for his reaction Miss Yves, that is still a very sensitive subject to him, one he does not like to talk about. And I did indeed help him recover from a great hurt. If you'll excuse me, I'd better see how he is faring.' And she is inside, leaving Victor to make the final adieus. Which he does befitting his leadership of his little party, though looking slightly guilty to Vanessa's discerning eye. As he enters the carriage too, and it sets off immediately, she returns to the house, thinking she has uncovered part of the doctor's secret: that terrible wound, that the slip of a girl so expertly healed, and that the victim doesn't want to talk about, was caused by the doctor somehow!

In the speeding carriage, Vincent is still unconscious. Victor and Adison have managed to lift him off the floor and he is now lying in her arms on one of the benches, twitching a little in the throes of a vision. 'Should we pull him out?' Adison says. She knows she can do it with the stuff in her doctor's case. Victor is in doubt: 'He doesn't seem to be suffering, just dreaming very vividly. Maybe he can learn a bit more of his past this way, or our future. Can you get him out just before we get home, so the driver won't notice?' She nods, resting her head on her lover's. She's tired, it has been a long and eventful day. But she is glad to have been of use and that everything went relatively well. The visions concern her, but they are not fits, and it is actually quite normal for someone with head trauma to get memory flashes years later. She feels Victor seeking her hand to hold it. It is a sweet gesture, he has come such a long way from the bitter and distrusting man he used to be. There is real love between them. She hopes he will be ready for a love of his own someday, but until then, she will be there for him.

She is planning to wake Vincent a block from their home, but as it turns out he comes from the vision by himself, a bit groggy, but coherent. He whispers hoarsely, with distinct humour:' At least I didn't ravish her. Bet she would have liked what she'd gotten.' Adison agrees with him that Miss Yves probably likes it rough, and the woman was quite rude to touch him so intimately without his consent. She smiles at him fondly. 'Are you feeling well enough to walk in by yourself? We feel that would be better. And did you have a vision, or just backlash from controlling your reaction?' she asks. Victor urges her to leave him be until they are safe inside the house, preferably on the big fourposter with a light snack and a glass of wine. But as it happens, they all just manage to find their way to their beds before the long day catches up with them and they fall asleep like babies.

They take the morning off to catch up on some sleep, knowing a summons from Sir Malcolm may come at any time, and probably in the small hours of the night. They need their strength for what may come. Sitting on the very comfortable bed having breakfast, Vincent tells them about his dream, of the lady from his past crying in the window with him standing in the rain looking on. And of the vision caused by Miss Yves' touch, which was a lot more intense and a lot more disturbing. 'I was in a bedroom in what looked like a city apartment, clearly not the rural house of the dream, having really rough sex with her. You both like me to dominate on occasions, but this was another matter: we were hurting eachother on purpose, with bonds, whips, mutual beatings and quite a lot of blood flowing through scratching, biting and even using sharp tools. She gave as good as she got. I felt lust, and a kind of possessive, overpowering love. It was in some way more a sickness, an addiction rather than love. Of course, I now know how true, disinterested love feels, or I might have been fooled to think that that was real, for it was so powerful. I cannot imagine my current self under any circumstance committing such heinous acts in the name of love, so I must accept that these may indeed be memories from my former life, with a lover I had then. Whether that is true or not, I have to consider the fact that I may have been a person without conscience or remorse, able to inflict grave hurt even on someone I truly, passionately loved, and enjoy it, as well as the wounds she gave me in return. I must have been a sick person, and she seems to have been more than a little mad. I don't wonder nobody came forward to claim him when he lay dying.'

Then he seems struck by a realisation, and he almost pleads his friend and his lover: 'In the meantime, as long as I have these visions, I'll need a lot of confirmation of trust from you to remind me I'm a better person now, that I am loved in a healthy way, that I am no longer that charming monster of my dreams. There must have been so much anger and violence in me, that it is an even bigger miracle than I thought that I didn't kill either of you straight away, in the pain of my re-birth. You chose quite the character to raise, Victor!' Vincent is clearly mentally exhausted after relating all this, and Adison holds him close, letting him rest his head on her shoulder. Still she cannot help remarking:' Does it strike you two as odd, that Miss Yves' touch gives such a violent reminder of your past, whereas your dream was kind of mellow, almost melancholy?' Victor says:' She does seem to bring out the worst in a person. She's always asking personal questions, and I've found her studying me several times now, as if she wants to gain leverage over me. She finds it hard to trust people, I think. She crossed a boundary last night though, touching you so intimately, and I'll certainly give a hint to Sir Malcolm that she'd better not touch you again.'Vincent replies: 'I'd appreciate that, Victor, I still feel not entirely welcome in that company, but I need to be there when things become dangerous. Having her touch me like that will not help my fitting in. I don't think I'd ravish her anytime, but I don't want to drop on the floor with violent flashbacks everytime we meet either. 't Would make a bad impression I'm afraid. Sometimes I think she may be drawing me out on purpose, and I don't want to become a slave, to her or someone worse, by sex-magick.'

Adison can think of several other things she thinks would likely happen if that crazy woman touched her man again, but she doesn't want to ruin her reputation as a civilised woman. And she knows she can handle Miss Yves, either mentally or physically. So she merely exclaims: 'Sex-magick, you mentioned that earlier, I thought we were dealing with blood-magick here? And you were going to tell us about Bruce. I heard some, but I'd like to know all!' And they spend another hour talking about premonitions and Chinese magic. Adison is resolved to visit her Chinese teachers that day to show them the drawings of the sinister body, and ask about the possessed boy. She wants Vincent along to relate his visions, see if they can tell him if they're imaginations or real memories. He also wants to meet Bruce and accompany him and Maud to the theatre, preferring to move in groups for safety. Adison will have to come too, she cannot go home by herself. Victor, who is meeting the doctor of haematology today, will carry his gun and a blade concealed in a walking cane.

Chapter 11

They leave the house together, Adison and Vincent heading towards the Chinese quarter, the doctor downtown to a certain Doctor Van Helsing, the man who has made the study of blood and its capacities his life's goal. The day is nice and sunny, and the two lovers thoroughly enjoy the walk through town. Entering the Chinese quarters, the scenery changes. The buildings are more or less the same highrises with appartments as most of the city, but a lot of the homes have brightly coloured banners, and the shop-signs are of course in Chinese characters. There is more green in the streets, potted shrubs and even trees, there are more children about. The reason for this is also clear, the social structure here is much stronger. Adison is greeted immediately by her title as doctor, and Vincent is hailed by name, by most passers-by and all of the children. It gives a feeling of belonging. They head for the community centre, a lower building set in a garden. The grounds must have once cost a fortune, and the building itself another one, built as it is in traditional style and of materials imported from China. Adison likes the strong community spirit, Vincent can imagine Bruce feeling very controlled and limited by it. Tradition is strong here, and for a restless young man it can be very restricting.

They enter the building and head to master Man's room. Knocking, they are invited in, and find the room already full with a kind of council, consisting of three men and three women, of different ages. Bruce is there too, master Man heads it. 'We were expecting you two, welcome!', he says to the stunned couple, 'we had hoped to finally meet the doctor as well, but I suppose he had other pressing business?' Adison stutters: 'How did you know we'd come? Do you also know our goal?' The council nods confirmatively. Master Man says:' You want to know more about the evil that is trying to manifest in our city and that is threatening us all. Please be seated, both of you, and tell us what you know.'

Adison starts to speak:' A week ago, in the doctor's workshop, three people came in with the body of a gruesome creature. It was man-shaped, it had a light grey hard exoskeleton, no body hair and a mouth full of sharp teeth. Cutting into the exoskeleton, the doctor found the body a darker grey, with hieroglyphs in relief. Its blood was human-like, only with signs of an infectious sight of the body and of the lady of the company of three, Miss Vanessa Yves, gave me a premonition: that the appearance of that particular group of people would change all our lives, explaining why the three of us felt compelled to learn weaponscraft and why Vincent needed to get to know and accept the violent side of him. We were going to need both in a battle against evil.' She hands master Man the sketches.

'And your story?' he asks Vincent. Thinking back of what might be relevant to the council, he starts: 'Do you know how I was born a year ago?' Master Man answers: 'We have an idea, but we'd like to hear it from you. We have a suspicion you may be quite important in all this, so we'd like to hear first-hand.' So he tells them:' The doctor took a body dying of head trauma and resurrected it using lightning. It went totally wrong, I was born totally confused and in excruciating pain. This brought me to near-madness and doctor fled in fear and might have abandoned me, if I hadn't killed him in my state. Adison intervened and comforted me, healed my wounds and relieved my loneliness. She taught me to walk, speak, read, write and think, and she showed me how to love and how to forgive. Finally she helped me face my violent streak and learn to love it as well.' This is what we thought had happened, '' says master Man, 'now hear our share: We knew the doctor had a task to fullfill, so we had him watched. We set up Adison to live next door, so she could assist in his task, and found a practice with him to bring Chinese medicin to English patients. When we finally could see you in our readings, we were glad we had decided to intervene, for you had been set up for great evil in your life before your death. We don't know exactly what the enemy was planning of course, but you were supposed to be resurrected, then scare your maker into flight, leaving you to grow up in utter loneliness, virtually indestructible and howling mad with hatred for your maker and all humankind. You were to be the ultimate bringer of evil, though we don't exactly know in what way. We know this is not all, but we don't know the rest of his plan, we hoped you would find out.'

Vincent cannot seem to take all this in at once, but Adison makes a brave effort:' You set me up to live there and save Vincent from becoming a demon? You mean to say that he was killed on purpose, so the doctor could raise him again?' Now Vincent has found his voice:' I'm indestructible?' 'Virtually, yes', Bruce calls out happily, 'so we can go all out in practice from now on!' Master Man adds: 'We believe the flashes are memories from your former life, they may be really important clues to what the enemy is planning, so try to remember them with as much detail as you can. You may even try to influence them a little.'

So, the visions he has been having are indeed flashbacks from his former life. Vincent asks:' Are they indeed more violent when Miss Yves touches me?' The men and women discuss this for awhile, and a woman tells him:' This may very well be. If so, you need to avoid touching her, for temptation may enter you again via her. If it does happen, seek contact with Adison or another magic well, to draw it out. Our magic tells us there is one close to Miss Yves, a very strong one though it is dormant. If you ever meet him, Adison, you could set it free, gaining a powerful ally against the enemy. Flashbacks you experience in sleep or spontaneously are not harmful, they will return your memories to you, but you will not be their slave. You are your own person now.'

'Now, have we had the answers we were looking for? Please keep eachother informed, and be careful. And Bruce, do your best the coming week, for we will be visiting your show when you least expect it!' Thinking of a delegation from the Chinese quarter visiting the gruesome tales, Adison, Bruce and Vincent cannot help thinking: then the director will be thrilled his trick works! 'One last thing, Adison, may we keep this drawing for research?' And with that, the meeting is done. Vincent and Bruce work themselves in sweat on the sunny patio of the building, Adison is off for her first study of Chinese magic, hoping for a cure for possession.

After practice, Vincent and Bruce decide to medite for half an hour, to prepare for the theatre. Vincent especially needs some quiet to digest his new knowledge. Of course he knew from the start of his life that he was not normal, even when he did not yet have words to express it. But he always assumed he had been a normal man before this life. He can hardly believe that he was primed to be a bringer of evil in his former life, he's only one person after all. What can one man do?And wouldn't he have evil thoughts once in awhile? And if Adison was planted there to save him, does she really love him, or is it just a compulsion that she is under, like the woman of his dreams was primed to lead him into destruction? Of course it is impossible to meditate with a head so full of revelations. Maybe a trained individual can do it, but Vincent has been doing it for less than a month. So when his features slacken and his tenseness lessens, Bruce immediately realises he is having another flashback. He decides to watch him closely as it progresses, hoping it will tell them anything about the process Vincent is going through, ready to intervene if something seems off.

This time, he is in a city, and not riding a black horse, but inside a luxurious carriage. The inside at least is not black, but deep red velvet. He wonders if this means it is not his own, but rented. Detached from what is happening, he looks around to see if he can find any clue as to whom he is. First the carriage, does it have any insignia? Apparently not. A watch, watches are often engraved. And indeedhe has a heavy golden one, on a chain, and it is engraved: yours forever, Cathy. And a date, five years ago. When the heath was blooming and all was still well? Or already in the city, to make up for a lover's row? He checks for wounds on his body, they are there, but not fresh, they're scars. Hunting boots, black trousers of course, both of the finest quality, shirt, white, also fine quality. Kerchief, dark red, the colour of blood. No marks of ownership anywhere. His dagger, nice quality, expensive, a maker's mark. Stenman in London, five years ago. That may be tracable. He looks out of the window, hoping for a clue. He recognises nothing, he tries to think frantically of another way to identify himself.

The carriage stops, in front of a seedy looking bar. The driver opens the door, tells him:' This is it, Sir, the address you gave me. The Dark Fox, East London. It looks like a seedy place.' The driver is clearly sorry to have spoken that thought out loud. Though he personally agrees, he feels a twitch of annoyance from his host, his former self. He is in control though, so he does not deliver the expected blow. It is a sad sight, to see people cringing from him, though he knows it is not him they fear, not really. For though he wears the same body, he refuses to accept that this was his life. Lost in thought, he enters the crowded taproom of, indeed, a seedy establishment. He sees no recognition in the patrons, so he is not a regular here. Well, that is to be expected, it is clear that he is rich. Then, a beautiful young woman comes towards him as if she is the one he is supposed to meet here. His body seems to know her, but he cannot place the feeling. Is he cheating on his girl, whom he now knows is called Cathy, with her? She comes towards him to shake hands, and indeed she does. 'There you are, finally' she says, proving they do know eachother, though they don't seem to be lovers, for she is not looking at him, but behind him. He hopes she will call him by his name, whilst he tries to remember hers. Concentrating on her name, he fails to react to the intense warning of danger his own body's honed reflexes give him. When he finally realises he's in danger, it is too late. He does remember the name of the woman who has set him up in this bar: Mina. Through the haze of pain that follows the blow on the back of his head, he realizes that he is not just living through his own death, he has caused it. Then everything turns black.

From what he has heard, Bruce knows this is the longest flash Vincent has exprienced so far, excepting maybe the dreams he has had. Vincent's vital signs are fine, so he does not wake him. As he starts to show some agitation, Bruce starts to doubt if he should pull him out. He rushes to master Man's window, taps on it. Then he returns to his friend, whose vitals have not changed. As the master and Adison approach at a run, he meets them halfway and reports on what has happened. The master convinces Adison that it is not harmful to experience a flashback this long, as long as the body stays warm and breathes well. They wait for what seems an age, when suddenly, with a cry of pain, Vincent keels over. Adison is with him in less than a second, checking his vital signs then holding him possessively. 'He lives, but he will not wake up,'she says agitatedly. Master Man stays calm, and tells Bruce to fetch his herb-case speedily. Bruce is off and back before Adison even notices he is gone. The Master says: 'Adison, let him smell this, it will certainly bring him out. But he may react violently, so I suggest you move to a safe distance.' Adison does not comply:' I will not leave him, he needs me close, all he ever needed was to have someone close to him.' The master, smilingly handing her the flask with a pungent smelling solution, gently corrects her:' Not just anyone, Adison, he needed you. You saved him from a fate worse than death. I wonder what he has just relived. Just let him smell it dearest, that stuff would wake up a dead volcano.' Adison does as he tells her, and indeed, as soon as he has smelled the vile stuff, Vincent jerks up, sees Adison close, then collapses again, in her arms.

'How long before the show?' he asks. Adison doesn't know whether to laugh or cry, so she does neither. She just tells him:' Plenty of time still, you're the lead, you can be fashionably late', and when he looks at her searchingly, to see if she is really making fun of him, she just loses it. She takes his face in both hands, and looks him straight in the eye, the intense yellow eyes she wants to drown herself in. 'Do you have any idea how much I love you, you...' her words fade, but her eyes tell him everything he needs to know. She loves him as much as he loves her, of her own free, indomitable will. They take comfort in eachother until they become aware again of Bruce and master Man standing there, dying of curiosity at what Vincent has learned of his past.

But the actor in him cannot take the time to do his tale justice, that would ruin both the play and the story he has to tell. 'I'll have to save it until after the show. Now I need to concentrate on my role. Why don't you all come see the play tonight, do the director a huge favor, and after it is done I'll tell you all about my flashback. I'm not likely to forget my own death!' Now he has them, and they know it. Bruce, Adison and Vincent hurry off to pick up Maud at Bruce's family's appartment. Then they are off to the theatre together. Vincent does not talk or even think about his shocking discovery, his head would start spinning, causing him to forget his lines. Instead he thinks solely of his character, of his heroïc deeds, of his flowing lines, meant to declamate rather than bring naturally.


	6. Chapter 6

Chapter 12

And that night he plays a memorable show, his concentration so acute, his character so life-like that the audience sits in trance. He can see individual faces among them, Adison and Victor of course, filled with love and pride for him. The American guy from the dangerous threesome, with an enraptured girl at his side. Miss Yves in her usual spot on the balcony. And an entire row of Chinese friends from the community centre, among which master Man and the rest of the council. Vincent enjoys himself hugely, playing the viewers' emotions as it pleases him. He feels incredibly powerful, and very humble at the same time. All these people are allowing him into their feelings, into their hearts, to make them laugh, cry, remember their dreams and their youths. When the curtain closes and opens again, and they make their bows, he feels so incredibly at home in this place. This theatre, where the characters die like flies, only to come back to life again the next day. What better place for one who has sacrificed his own life, to come back to be a better person and to set things right. He wants to share this incredible rush with Adison, regretting that before they can be together, they will have to meet their friends first, to exchange information and make new plans.

And before that, there is the usual meet and greet with the audience, the hanging away of costumes and the removing of make-up. This night, he first introduces his Chinese friends to the director, who immediately visualises a whole new potential audience, with plays in Chinese style, with an all-Chinese cast and exotic costumes. Vincent, knowing he will have plenty of time to talk his friends later, is introduced to a well-dressed, handsome young man whom he has seen before on one of the balconies. His name is Dorian Grey, and he says:' I've seen you play before, Vincent, may I call you by your first name? But you absolutely outdid yourself tonight, what a performance!' Vincent cannot help being flattered, this is clearly a developed man with a taste for the arts, so his compliments are valuable. 'Thank you, Sir Grey', he replies. 'Please, call me Dorian', the young man says, 'I don't have a talent like yours, I'm just an ordinary guy looking for a good time. Say Vincent, are you busy tonight? I thought you might want to join me and some friends in a little party.' With the utmost politeness, Vincent has to confess himself engaged elsewhere:' I'm sorry, Dorian, I have a prior engagement tonight with my business associates, but I'd love to join you some other time.'

Politeness forces him to say this, but in fact Vincent doesn't feel like getting closer to this man at all. Shaking his hand has given him a very uncomfortable feeling inside, fortunately the flashes seem to be exhausted tonight, but he fears to be touched by him again. It feels tempting, as if the man draws people to him with a sexual energy, probably without even noticing it himself. Vincent feels pulled towards him against his will, acutely conscious of the tempting force of Dorian Grey and still barely able to resist it. Dorian smiles:' I'm very sorry to hear you are engaged already, but I'm looking forward to that time in the future when we will get to know eachother better.' On impulse, Vincent smiles at him sweetly and says:' There is someone I'd like you to meet, my dearest friend Adison.' And he beckons her over from where she is talking and laughing with Maud. She sees the urgency in his eyes and comes over straight away.

He quickly takes her hand, feeling the sexual pull of Dorian drain out of him, followed by a little squeeze from her: 'This is Adison, my roommate and lover. She is a partner in Doctor Frankenstein's medical practice.' Adison of course is not visibly affected by Dorian's temptation, but Vincent is very curious if she has felt it too. He'll ask her later. For now, Adison holds her hand out to Dorian, which he kisses it elegantly. He is clearly pleased by this old-fashioned gesture, enabling him to reply much more gallantly than with a handshake: ' And when Vincent is finally able to visit, please come too, Miss Adison, I've heard a lot about your new practice. I've been told you have snatched Mrs Gould back from the brink of death, and that she is fit as a fiddle again. Bring the doctor too, I've heard he is a handsome man and very well-read. Please?'

Adison feels quite safe promising they'll come, there is no way she'd let Vincent or Victor into this man's claws without her, but it will be interesting and good promotion for their practice, and she is sure she can keep the boys from falling into Dorian's clutches. They part with the utmost politeness and friendliness, and they watch Dorian Grey looking for and finding Miss Yves, and see them talking together for some time. Noticing that the public has more or less left, Vincent invites Adison into his embrace, and they stand together for some moments, not speaking, just feeling. Then he whispers in her ear:' Did you feel that Dorian Grey's pull as well?' She replies:' I did feel it, but wasn't affected. Were you?' He says:' I was, I saw myself going with him, doing everything he asked, I couldn't believe it. So I touched you and all was fine. Do you really think we should visit him?' Adison is thoughtful:' We cannot refuse, and anyhow, it'll be good for our practice, and I am sure I can protect both of you from him or his other guests.'

They decide to go to the doctor's house for Vincent's account of his flashback. Victor also has some new insights to share, having been to doctor Van Helsing for a consultation over the creature's blood, and to Sir Malcolm to check on the possessed boy and to discuss the results of the blood work. Vincent starts relating his flashback:' I was in a coach, and I had control of the body this time. So I checked everything to see if I could find out my name. I had a gold watch with an inscription by a Cathy, and a dagger signed by a London maker. There was nothing more, no labels or heraldic signs. We arrived at a seedy bar, I went in, met a blonde woman called Mina that I knew well but wasn´t intimate with. I hoped she would use my name, but my body warned me of danger instead. I reacted too slowly and got hit from behind. I knew this was the blow that killed me, and I knew that had I not been in that body, the old me would have survived the attempt, for he was aware of it and would have been able to fight it off. The more I think about it, the dizzier I get, so I prefer not to try to understand how this could happen and what the implications are. Was this on purpose, or accidental, did the enemy orchestrate this?

First to react is Victor, crying out:' But, the girl that Sir Malcolm is looking for, his daughter who is under the infuence of the enemy, she is a blond woman called Mina. If this was her, your old self was almost certainly killed by the enemy! She was clearly distracting the old you from looking behind him. But you say it would not have been enough if you hadn't kept the body from reacting. Did they underestimate your old self, or did they know you would be there controlling him?' Master Man says:' We have heard of instances like this before, like time doubling up on itself. We'll have think it through, that may take a few days. Will you be all right, Vincent? Vincent nods. Then the master addresses the doctor:' Good to finally meet you, doctor Frankenstein. We have talked about the creature this afternoon and we'd like you to fill in some of our blanks. Did you find out what those hieroglyphs on the body mean? And is it true that Miss Yves is possessed sometimes? And is there someone in that household that might be a dormant well of power, a powerful, stable person, probably in a low position, where his or her power would be stagnant?

Here, Vincent intercedes:' I know who that last person is, it's Sir Malcolm's manservant. When I shook hands with him he felt firmly grounded.' And Victor adds, 'I do know what the hieroglyphs mean, they are a kind of prophecy, that if the male snake god, who is immortal because he devours souls to renew his body time and time again, comes together with an Egyptian Godess, the world will come under their domination. And Miss Yves does indeed observe things from the unseen, and sometimes she fights possession, and she tends to know all kinds of bad deeds people have committed. They still have the possessed boy there too. ' 'Hearing this', the Master says, 'I can see one thing we can do in the very least, to make life difficult for our enemy. If you accompany Victor next time he visits, Adison, you can wake the powers of the manservant, it is but the one formula you have to speak whilst touching him.' Adison agrees. 'Then if the boy and Miss Yves come into contact with him, the magic is drained, and the possession loses much of its power. Miss Yves will probably win the battle with his help, the boy is probably lost. But he may yet escape his cruel master in death.'

'And', Victor adds,' through my contact with doctor Van Helsing I have learned that what ails the creature, and all his servants, is vampirism. They suck blood to stay 'alive', though they are technically already dead because the vampire that sired them, also killed them. They cannot stand the light of day, and can be killed by decapitaton and a stake through the heart. Though supposedly a well-aimed bullet can also end are strong and fast. The dangerous three are planning to clear out another nest tommorrow night, and though Sir Malcolm does not want me along, I plan to convince him to take all of us, so we can surround it and make sure nothing escapes. Could you send a delegation as well, master Man?' 'I can ask which foolhardy boys want to risk their lives to do some good, yes. I'm sure I'll find volunteers. I'll let you know, also, any conclusions we have come to with the new information. We'll leave now, take some rest, it has been a hard day again for you. Goodnight!' And with this, they leave, giving Adison, Victor and Vincent some time to spend together. They move to the fourposter with some snacks and a calming brew.

Victor looks exhausted, and when they ask him what the problem is, he says:' Well, Sir Malcolm's daughter is probably turned, so she can be found, but she cannot be saved. Vampirism is incurable. I had a hard time trying to convince him, but I didn't succeed. And the possessed boy is still quiet, but nothing I can do will save him, dying would be a mercy compared to what he is going through. Then Miss Yves flirted with me incessantly, as if I am too naive to understand her game. I asked her to be not quite as tactile towards you, Vincent, if you should meet again, and she laughed at me. Gave me one of those knowing looks, asked me if I was jealous. She didn't say of whom, which disappointed me a bit. I'm starting to seriously dislike her.'

Vincent laughs:' Imagine you asking her of whom you were supposed to be jealous, her or me. You can be very funny when you feel like it.' Seeing how shaken and tired Victor really is, Adison holds out her arms in an inviting fashion and says:' Want to make someone jealous?' Victor gladly accepts the invitation and moves towards her, resting his head on her lap and letting himself be spoiled a bit. He immediately relaxes a little and says:' Doctor Van Helsing says I need to look up from my work and get me a girl of my own. Do you think I should?' Adison replies:' Of course you should, if you feel able to give her the attention she'll need. Girls do cost a lot of time, you know. And money. And you'll need to find one that can stand us, for you cannot get rid of us anymore.'

Vincent is also very tired, the day is catching up with him and he just wants a little love, too. So he moves as well, settling himself behind Adison, and letting go of the things he has learned that day. And when the doctor moves to his own bed, they crawl into theirs as well. But not to sleep, not yet. They lie awake together, trying not to think of anything, and failing miserably. So Adison decides to choose the cheeriest subject to think and talk about. 'You were so good today, I just couldn't believe it. I cried right through the whole show, I was just so happy to see you triumph.'

He moves right on top of her, supporting his weight with his arms, but totally covering her with his body. It feels so comforting to have him this close, enveloped in his smell, feeling his skin and muscles touch her everywhere. 'I felt invincible, on top of the world. It was as if everything revolved around me for the duration of the play.' She teasingly strokes his face, his hair, of course moving towards the scar on his temple:' Was it as good a feeling as making love?' His body tenses and his temperature rises the instant she touches it, but he can still answer feelingly:' Nothing feels as good as making love to you, except the memory of that one moment that you accepted me.' Her fingers trace downward, her voice no longer teasing:' That moment was the best moment of my life too.' Vincent loses his fervor for one moment:' Would you believe that I doubted you for one moment today? That I thought your love might be a compulsion put on you?' She shakes her head: 'No, I wouldn't. Do you still doubt me?' He moves towards her to kiss her:' When you held my head and looked into my eyes just after I came out of the flashback, I knew. I knew that you love me as much as I love you, of your own free will.' They kiss longingly and Adison feels her heat rising again. She continues her stroking of her lover's scars, finally getting the explosive reaction she wants. No more talk of feelings, and no tender loving for now. There is a part of him that needs some release too, and she is only too happy to initiate it. Feeling his glorious strength envelop her, she gives herself up to her passion completely, and together they sate their lusts, forgetting everything but eachother. Then they fall asleep, still totally entwined, and sleep dreamlessly until the new day.

Chapter 13

Knowing they will have a hard and dangerous night, they sleep late and have a leasurely breakfast. Victor is planning to see the boy again, and they decide to all go, to convince Sir Malcolm to let them in on the raid tonight. As it turns out, he is quite ready to. Last night, when Miss Yves was at the theatre, his house was invaded by another of those creatures, undoubtedly called by the possessed boy. Probably the whole reason they had been able to get their hands on him. Its target was clearly Miss Yves, for it was hiding in her room. Once discovered by Sir Malcolm, it fled, and the boy died attacking Sir Malcolm. He is convinced there is a nest on a ship in the harbour, and he wants to raid it to have a shot at rescuing his daughter.

Miss Yves does not try to touch Vincent anymore, which is a relief to him. That doesn't mean she leaves him alone, though. She seems quite fascinated by him, drawing him out to talk about the theatre, and his past. 'Mr Smith', she says, 'Dorian and I agreed yesterday that we'd never seen better acting than yours that evening.' He replies:' Please call me Vincent, I'm not used to being Mr Smith. And thank you so much for such a compliment. I suppose you have both seen a lot of plays, so I'm really flattered by your praise.' She visibly checks a movement of her hand towards him, and asks:' Have you known since childhood that you wanted to be an actor? Did you have lessons from a private master, or at public school?' Amused at her cunning enquiries about his youth, probably fishing for his birth and status, he answers truthfully:' Actually, I had no interest in the theatre or acting until about a year ago, when my whole life took a different turn.' Disappointed to get no further information, she enquires: 'Is that when you met Miss Adison? Is she so very fond of the theatre? Where did she go anyway?' She looks around the room. Knowing that Adison went in search of the manservant, Vincent keeps the conversation going by giving some information:' It did happen after I met her, when I became a totally different person. But it was not through her love of the theatre, she is much like the doctor in that she loves nothing as much as medicin. She's probably with him as we speak, studying that boy's remains.' He enjoys talking about his past in riddles, and has piqued Miss Yves' interest in their love-life. ' Aren't you afraid they'll fall in love over some corpse or other?' she asks daringly.

Vincent is surprised that she knows Adison and him are a couple. Of course, she may have seen them together in the theatre, but he still asks with some surprise: 'So you know that she and I are lovers?' Triumphantly she reveals:' I knew when I saw you both in the basement, first time you were here with the doctor. When you held that boy in that incredible grip of yours, I noticed her reaction. She certainly enjoyed the memory of being held that way herself.' Vincent is impressed and also slightly embarrassed, but he does not hesitate to credit Miss Yves:' You are indeed a keen observer, Miss Yves' 'Please call me Vanessa', she says, ' I admit to feeling a little bit envious of Miss Adison at that moment, and also yesterday evening at the theatre when you proved yourself a great talent. She gets to be held by you, and I am forbidden to even touch you.' Vincent decides to let her flirtations pass, but to do let her know the truth, at least part of it. They are in this together after all:' It is nothing personal, Vanessa, it's just that your touch caused me to have strong flashbacks twice now, and our mission with you would become a lot more dangerous with me incapacitated. I can't risk Adison or the doctor.' Cunningly she brings the conversation back to that point:' Ah, the doctor. Aren't you even a tiny bit jealous then, them always being together, cutting up bodies, sitting in the audience watching you play? After he did that to you?' This last she says looking pointedly at the large white scar on his right temple. Though she fortunately does not touch it, he still gets a physical shock from what she says. How can she know the doctor did that to him?

Seeing his reaction, fearing she has gone too far, she has to check herself from touching him, again, and quickly says:' He didn't tell me anything, I guessed from his reaction.' Having recollected himself, but agreeing with the doctor that this woman is way too clever for her own good, he decides to once again be honest:' You are indeed right, the doctor caused these wounds, but I would be dead without his interference. And without Adison's healing skills, I would have been maimed for life, forever dreaming of being an actor but never able to realise that dream. I trust them both with my life, and with my love.' Now it is Vanessa's turn to be stunned: she'd have sworn the doctor was still untouched, but this man clearly has loved him, physically. Her view on this threesome needs an update, they are held together by a much stronger bond than just a working relationship. So much different from her own group of three, brought together by their fear of loving as much as anything.

They decide to clear out the nest as a group that night, including whichever Chinese daredevil wants to join them. Victor, still affected by the fate of the poor possessed boy, is glad to be included. He does not look forward to violence and danger, but this needs to be stopped, and he is confident that he can hold his own in a fight. Adison has had a good talk with Sembene, about his past, his reasons for being here in apparent servitude to Sir Malcolm. She has released his talent for drawing in and grounding magic, with his express permission. He never knew it was there, but knows it will give them a decided advantage in the coming battle. He agrees with doctor Van Helsing, that Sir Malcolms daughter is probably lost to vampirism, and knowing what this may lead to, he has added his voice to the doctor's, preparing the determined father that rescue may not be an option anymore.

Back home, they check their weapons. Guns are loaded, swords and knives sharpened. Bruce drops by, to let them know he will meet them after the show with five young fighters from his community. They will bring wooden stakes. When Bruce has left, carrying some poetry books, they decide to try and take some rest. It will be a long night. Vincent tells Adison about Miss Yves' deductions, amazed at her intelligence, but not at her tact. 'She made me feel very uncomfortable, I'm temped to avoid her from now on. I can't imagine her having any friends.' Adison replies, a bit sadly:' I do think she is very lonely, I feel kind of sorry for her. Stuck in a house with that cruel old man. I bet there is a really sad story there, a secret she hides by uncovering everybody else's.' Then she turns towards the man she loves, straddling him and kissing him fervently. 'I'm so happy we have eachother', she says. In answer, he looks straight at her, letting his eyes speak for him. His arms enfold her, and they lie together, trying to find some sleep. Soon, Adison feels Vincent relax in sleep, and she watches him for awhile, keeping still so as not to wake him. It is so comforting to lie next to someone she loves so much, to see him completely at rest, to feel his warmth, and smell his skin. She is not nervous about tonight, she knows that with Bruce and five of his mates they will be reasonably safe. Also, she has a kind of feeling that she may be immune to vampirism.

After some time, Vincent no longer feels totally relaxed, his body tenses and he gets restless. His eyelids flutter, and he mumbles. He is clearly dreaming, and knowing the direction his dreams tend to take this last week, Adison decides to keep an eye on him. She really wants to take his hand, or stroke his hair, but she is afraid this will wake him, or make his dream, well, an ordinary dream. And he does seem to want to know more about his former life. In way, she wants to know too. She doesn't really care who he was, what he has done in his former life. But she knows he is the man that she wants to spend the rest of her life with. And having been raised traditionally, and living in a very traditional society, she would prefer to share their lives legitimately. Married, so to speak. Which is hard if one of the partners has no name. But if they never find out, she will adjust, she knows she cannot live without Vincent.

The latter, meanwhile, is indeed living through a recollection, and not a particularly pleasant one, though quite interesting. In his dream, he is hiding in the kitchen of the old house in the heath, whilst Cathy, the love of his life, is talking to her former nurse and the housekeeper Nelly. He hears Cathy tell she has received an offer of marriage from a certain Linton, whom she scorns but who is well-born, fashionable and rich. Heathcliff, whilst being more herself than she is, made of the same fire as she is, is too far beneath her to marry, they would have nothing to live on together. His former self is crushed, and wants to leave, but his new self wants to hear the rest of the story. Cathy tells the housekeeper she realises Heathcliff and herself are one and the same, but to have an income and get away from her mad brother, who hates Heathcliff, she needs to marry a man with an independant income. Heathcliff, so that is the name of his former self, and he apparently has lived in servitude to Cathy's brother, preventing her from marrying him. His young former self is dressed in rags, not the expensive clothes he has seen himself wearing at the time of his death. So one would think that this explaination by Cathy must have changed something in his life, making him fly from a life as a servant, into independance.

After such an intense experience, one is almost certain to wake up for awhile, to get a grip of one's own life again. Vincent is no exception, and when he wakes up, realising he is himself, not Heathcliff, he finds Adison waiting for him, watching his vital signs and hoping he'll remember what he has dreamed of. Relieved beyond measure, he can focus on remembering his past life, and from her loving embrace he tells her what he has learned of his past. 'So you were called Heathcliff, and you were a servant too lowly for Cathy to marry,'she recapitulates. 'That does not agree with your rich clothes, and your status when riding in a coach,' she says. He is just too relieved to recognise the woman he loves to make any sense immediately, so she just holds him and waits for him to collect his wits. Then he says: 'I think I may have changed my former self's life again: he wanted to run away to avoid hearing Cathy speak ill of him, but I stayed, and he heard her say they were meant for eachother, that she just wanted him away from her cruel brother.' Because that is just to weird to think much about, they decide to try to get some more sleep before it is time to go to the theatre.

Chapter 13

After the play they introduce themselves to Bruce's friends, collect their weapons and go to the appointed meeting place. As a group, they move stealthily towards the large ship. They decide that Sir Malcolm, Sembene, Miss Yves and the American are to find and destroy the creatures, assisted by Bruce and his five friends. Six martial arts specialists armed with wooden stakes are quite a force, and they hope to get all of the creatures this time. To cover all exits, Vincent, Victor and Adison have decided they will take the back exit as their entrance. Both groups will have a priest, and both will have quite some fighting power.

Vanessa is glad she has decided to join the expedition, when Dorian called today to ask her to spend the evening with him she was tempted, but she can call on him tomorrow. With a force this size they can clear out the nest with no chance of escape, and if they do get Mina she needs to be there, to reason with her. Also, she is still fascinated by the doctor and his two friends. Seeing them operate in a fight will be interesting, neither of them looks to be useful in a fight, but she suspects they might be well-trained, especially the pale actor whose strength and quickness surprised them all in the matter of that unfortunate boy. And then there are the Chinese men, boys really. They are small and wiry, and dressed in loose black trousers and tunics. Their spokesman introduces himself as Bruce, an engaging fellow who also has a role in the play. They are supposed to be excellent fighters, and she is looking forward to observing their style. She is not afraid, she never is. Her only fears are stagnation and boredom. She expects no danger to herself, in such a well-armed group.

The inside of the ship smells horribly of death and decay. Bruce and his team spread out around Sir Malcolm's group, scanning the area for danger. The space is low, as is usual on a ship. All too soon, they are rushed by the screaching white women of their former encounter, and she can see the boys in action. They whirl and turn, striking with their hands and kicking as well, even as high as their opponents' heads. They are clearly not used to foes that keep coming despite being struck repeatedly, that stand up again and again after being floored. But they soon adapt, freeing their stakes to put an end to their enemies. There are quite a few opponents now, some men also, who are clearly possessed. Ethan and Sir Malcolm shoot several, and Sembene also accounts for quite a few. The ranks are thinning quickly, mostly through the efforts of the six black-clad fighting machines, of which Bruce clearly is the star. He is faster than lightning, not staying in one place long enough to even take one hit. His tumbles and jumps are incredible, he seems to be flying sometimes, always landing on some foe, ready to kill. Soon, there are no creatures standing. Something changes in the atmosphere, it thickens somehow, a feeling of dread is trying to get hold of her. Maybe some spell?

Then suddenly it clears away, and Mina is standing before them. The fighters regroup behind Vanessa's own companions, the fighting over for now they'll watch their backs. Mina reaches out her hand to Vanessa, her expression mild and thankful:' Dear Vanessa, papa, thank you for coming to save me!' Vanessa, desperately eager to believe that this is the moment that her wrong will finally be righted, walks towards her, arm outstretched in welcome. But when their hands touch, Mina's expression changes from mild to gleeful. She pulls Vanessa towards her roughly and takes her in a strangled hold around her throat, saying:' Welcome dear Vanessa, my master will be so pleased to finally meet his wife!' Her eyes are totally black, and she exudes evil. Time slows for Vanessa, and still she isn't afraid, half-strangled and threatened to be given to some evil mastermind. From where she is held, she can see the reactions of her companions. Bruce and his mates still alert to danger from behind, but also ready to rush Mina on a word. Ethan indecisive for the moment, probably wanting to shoot Mina but afraid to hit her. Sembene is seeing something more than just the two of them, he looks above them. Sir Malcolm looks anguished, and says:' Dear Mina, we have come to save you, please let Vanessa go.' She laughs scathingly, and replies:' Perhaps I don't want to be saved, father, perhaps I'm happy as I am now.' The look on Sir Malcolm's face changes towards determination. He aims the gun and shoots his own daughter in the shoulder, any shot closer to a vital part as likely to kill Vanessa as Mina. Or maybe he doesn't want to kill her. Despite feeling light headed from lack of air, Vanessa is ready to make a run for it, towards safety. As soon as she feels the bullet-stricken arm waver, she tears loose, and runs towards Ethan, collapsing in his arms.

With six black-clad warriors running towards her, Mina is hit by another bullet from her father's gun, this time much closer to a vital part of her body. She collapses wordlessly, but before anyone can reach her, one of the evil creatures drops down from over their heads, picks up her still shape, and disppears in a wink. Bruce and his guys find no trace of blood, no sign where they went. He asks Sir Malcolm:' Sir, do you want to take the lady home, we can comb out the ship to see if we can find them.' The reply:' They're probably miles away by now, you won't find them. But suit yourselves. Thank you for your help tonight, may we impose on you again if we have to go out another time?' 'You certainly may, Sir,' is the answer, 'good night to all of you, and good luck for the lady!' And with this, they part company. Bruce and his friends comb out the whole hold of the ship, and finally they find a hidden door that the creature may have disappeared through. They open it, and indeed they find a blood trail, proving that this is the right way to go.

After the main group has disappeared into the hold of the ship, Adison, Vincent and the doctor enter via a hatch in the poopdeck. After descending an narrow stairs they find themselves in a twisting corridor. Walking along, keeping a close watch out for danger from front and back, they move along at a good pace. 'Do we know where we are going?' Victor asks. Adison answers:' We keep going to the front of the ship, as we come closer to the creatures I'll probably be able to feel their evil.' She has her gun out, ready to fire. The others have their weapons readied as well, Victor his gun, Vincent a wooden stake. Silently they follow the corridor over half the length of the ship. Then it opens into a hall, with several doors. Now they have to choose a door. 'Adison, can you pick one?' Vincent says. He follows her as she checks out three doors. One, she dismisses outright. 'This one leads down to the engine rooms. They are not in that direction.' She does not feel a lot of difference between the other two. 'Let's try the middle one', she says. As they open the door, sounds of a fight reach them, and they hurry along the corridor towards the noise. At the end of the corridor, they find two doors to left and right, but the fight is clearly straight ahead. So they retrace their steps, ready to take the third door. They open it, and find a larger space, in the right direction. Crossing this room, they hear the sounds of the fight have stopped. But Adison now quietly points them in the right direction, she can clearly feel the evil closeby. They ready themselves for a fight, as they reach another door. But before they can open it, it crashes inward, opened from te other side.

One of the creatures emerges, carrying a body over its shoulder. As it sees them, it drops the body and hurls itself at Vincent with a howl of rage. He is shocked by the evil emanating from the thing, but his reflexes have already taken over. He catches it with a roll, and launches a kick straight after. They hear it connect, but the creature is not beaten that easily. It goes for Vincent's throat, as if it wants to rip him apart, and its claws do manage to get a hold of him. But two can play at that game, and with one hand, Vincent grabs the creature's armored throat, with the other, he manages to free his own neck before its claws can do serious damage. He has only one hand free, so one of the creature's claws can inflict a serious ripping wound on his chest. But even through the insect-like body armor, Vincent's iron grip is taking its toll. The creature cannot breathe freely, and its claw strikes with less damaging force. Freeing his second hand, he grabs the thing's gruesome head, and snaps its neck. As life seems to leave it, he doesn't take any chances, picks up his stake where it has fallen and rams it into the heart with all his force. The stake pierces the body armour easily, and the creature shudders, then dies.

Meanwhile, Adison has checked out the body it has dropped, whilst Victor stands guard. It is a woman's body, and it still has a little life left in it. As she turns it to face up, Victor says:' That may very well be Sir Malcolm's daughter, better watch out Adison, she may still be dangerous!' Noting this, she is extra careful, but she still feels sorry for the stricken woman. She has been shot twice, once in the shoulder, and once close to the heart, probably in the lungs, for her breathing is laboured. The woman opens her eyes, and they are black. She does not look particularly evil otherwise, but Adison can feel it in her. She takes hold of the woman's face with both hands, cupping it tenderly. Too weak to resist, the woman doesn't even seem to mind Adison's touch. Looking in her black eyes, Adison speaks a few unintelligible words and kisses her on her forehead. Closing her eyes when Adison kisses her, when the wounded woman opens them soon after, they are no longer black, but blue. Victor gasps in wonder, still keeping an eye on both how Vincent is faring, and on Adison's safety. 'Did you cure her?' he asks. Adison replies:' I don't think vampirism can be cured, it is an irriversible process in the body, but I think I have taken the enemy's control off her.

Having defeated his attacker, Vincent now joins them, and as he sees the woman's face, he exclaims:' That is the woman I met in the bar, in my former life!' She briefly opens her eyes at the sound of his voice, and whispers:' Heathcliff!' Then she passes out, the front of her dress drenched in blood.

Looking at Vincent in a reaction to hearing his real name, Adison sees the horrible wounds on his chest. Now they have two people in need of medical attention, and whilst they have two doctors, something is coming their way. So with Adison checking out Vincent's wounds, Victor awaits whatever it is, gun ready. Fortunately is Bruce, with his mates. He quickly tells them Sir Malcolm is already on his way home. Now he and his friends can guard, whilst Victor checks out Mina's wounds to see if they are fatal. When he touches her, removing part of her dress to see and feel the wounds, she regains consciousness for a short moment, looking straight at him and begging him:' Please help me.' He comforts her and tells her:' Don't worry, my lady, we will take care of you.' And with a last:' Please don't tell my father that I'm with you,' she passes out again.

Adison has managed to stop Vincent's wounds from bleeding, now she wants to go home quickly to clean them and have closer look at them. She fears infection from the creatures claws, a small anxious part of her suggests they may even have been poisoned. But there is nothing further she can do here, so they send the fastest two boys to fetch a cart, and proceed to lift Mina carefully out of the holds of the ship. Vincent follows on his own two feet, but it is clear he is in a lot of pain, and Adison supports him wherever she can. With the help of a hand-drawn cart from the Chinese quarter they manage to move the still-unconscious woman to their home. Victor asks Bruce to stay a little longer, for he may need to operate on her to remove the bullets, and to do that he will need to get her on his table in the attic. The rest of the boys return to their own homes, having promised to keep Mina a secret from everyone but their own Council.

Chapter 14

Without taking time to rest or eat and drink something, they set to work. Adison starts on Vincent, cleaning the wounds carefully and suturing where needed. They are nasty gashes, but the biggest danger lies in infection, poisoning fortunately seems no longer likely since Vincent is not doing worse than before. In half an hour, she is done and with the wounds clean and no longer bleeding, Vincent feels good enough to make them all some food. Operating will not be a succes if they faint of hunger during the procedure. Adison rushes upstairs to the attic, finding Victor busy removing the bullet from Mina's shoulder wound. He has found Bruce an able assistent, but now Adison is here, he prefers her expert help. Bruce goes downstairs to help Vincent, if they want him to play tomorrow, he'll need plenty of rest to fight off infection.

The shoulder wound is not a very difficult task for Victor, with his experience in pathology. There are only two problems: live patients tend to bleed a lot, which he is not used to, and they can get infected. But that is Adison's area of expertise, and as they will soon find out, vampire bodies do not react like human ones. As soon as the bullet is removed, Adison readies a thread to close the wound, but a weird thing is happening: looking at it, she can see the edges of the wound closing, angry red tissue knitting together, then fading to pink, then to white. Mina is healing herself at an incredible rate! But the chest wound, the dangerous wound, is not closing. Victor asks:' Do you think the bullet is silver, preventing her from healing herself?' Adison muses:' It might very well be, that wound closed as soon as you got it out. But the other bullet will be a lot more difficult, it may have struck a lung.' Victor wipes his hands and forehead clean with a rag. There is only one thing to do, try.

He examins the wound first, to see if he can find out how deep the bullet is lodged. If she heals this wound as quickly after the bullet is extracted, he can just cut his way in and the damage will repair itself quickly. He asks Adison:' Do you think her lungs were hit?' She listens to Mina's breathing, shallow but not ragged, so she guesses they were not hit. Knowing they cannot wait too long, they decide Victor will remove the bullet as quickly as he can, and let her vampire body heal itself. And he does, Adison keeping the blood away so he can see what he is doing. Soon he can fish it out, and they wait for the miraculous recovery. But nothing happens. And Mina starts to look really bad, it seems as if they may be losing her after all. 'The silver is out, what can be the trouble?', Adison wonders. Suddenly Victor has a revelation:' Wat if she has no resources left to heal herself with? She must have had internal damage as well, and it took us quite a long time to get her here. She needs sustenance.' And before Adison can stop him, he has taken up a clean knife and made a cut across his wrist, opening her mouth and holding the bleeding arm over it.

As soon as his blood touches her tongue, her body springs into action. She grabs the arm and sucks the blood straight from the wound. After his first shock at her unexpected action, Victor experiences a really strong lust surging through him, her sucking feels so good! Adison guesses what is happening, and keeping an eye on Victor's colour and on Mina's vital signs, she decides to stop her after a few minutes. Victor comes to himself and says:' Whew, that was quite an experience! I thought vampires were evil, unconscionable killers, but this felt very much like a survival mechanism meant to keep donors alive and happy, blissfully happy.' A small sound brings their attention back to Mina:' Thank you sir! '

They both see that the wound on her chest is well on its way to closing, and she is awake and quite aware. There is no sign of the evil minion in her anymore, she looks like a bewildered young woman. And Victor looks nearly as bewildered, a bit faint, actually. Mina invites him to her:' Maybe you want to sit down next to me for a moment, I'm afraid I took quite a lot of your blood being on the brink of true-death. When I am conscious I know when to stop. I think. I can't remember much, actually. What happened?' Victor does exactly what she offers, he sits down on the edge of the table right next to her. She takes his hand, and he lets her. He feels better immediately, the faintness lessening. He is also famished, and asks Mina:' Are you up to walking stairs? I want to show you your room, you might want to lie down in a real bed for a good sleep.' She looks even better now, only a few minutes later, and replies: 'I can walk a bit, yes. Is the window covered? Daylight would kill me, you know.' Victor says:' We'll settle that straight away, please don't worry. But we do need to get some food and some rest. Is it all right if we tell you what happened tomorrow? We don't know how much you do remember, but we'll try to fill in the blanks as well as we can.' She looks up at him thankfully, squeezing his hand lightly:' It will be fine. Thank you so much for saving my life, doctor.' His heart racing, Victor says: 'Please call me Victor, Mina.' She replies: ' Thank you Victor,' and to Adison: 'And thank you for saving me, too, Miss, and not just physically. I don't know how you did it, but I know it was you who freed me.' Adison offers her hand in greeting, and says: 'I'm Adison, Mina, and I'm pleased to meet you.'

They move downstairs, where Victor shows Mina to a room. Adison brings her a clean nightgown, which she is glad to wear instead of the blood-soaked dress they had to cut her out of. Then she climbs into the bed, and is soon fast asleep. Her breathing slows dramatically, making her look dead. Victor cannot believe what just happened, he sits down on the bed next to her and tries to get his mind around it. Someone possessed by evil, and Adison took that away, just like that? He feels some distrust of this woman, who has led her father and friend a merry chase, and has undoubtedly killed a lot of innocent people. But she looks so vulnerable. He very gently touches her face, and it feels cold to the touch. She does not react to his touch, this is clearly not sleep as humans know it, but a much deeper comatose rest.

He closes the curtains, getting nails and a hammer to nail them shut to make sure she won't burn in her bed when the sun comes up. He looks at her in wonder one more time, closing the door behind him. Then it's off to the kitchen for a hearty meal, he has a feeling he will be donating more blood in the future.

Vincent, Bruce and Adison are already seated in the homey kitchen. It is quite spacious and old-fashioned, with a big table in one corner to gather around on nights like these. There is plenty of food, and Victor does Bruce's cooking justice, eating like a harbor labourer. Vincent remarks:' Dear Victor, what have you done to work up such an appetite?' Clearly, he has not been informed yet of Victor's latest medical discovery: vampires heal quicker when fed straight from the artery. Adison laughs:' I haven't told him yet, been too busy stuffing myself until now.' Well, Victor is not going to stop eating yet, so Adison'll have to tell him or they will have to wait. Adison explains:' Mina heals really quickly, being a vampire. She couldn't heal until Victor got the bullets out, they're probably silver, which is poison to her kind. The arm wound closed immediately after it was out. I wanted to suture it but it was not necessary. But when he had taken out the one in her chest, she didn't heal at all, and she started to fade a lot. So he guessed she must be running out of energy, dealing with the wounds and of course the poison in her body. He slashed his wrist and let the blood drip in her mouth. At the first taste of it, she came out of her near coma, got hold of his arm and drank it straight from the vein, until I broke it off when I thought he'd given as much as he could miss. She woke up after that, made a nice apology too, for being greedy.' Vincent asks:' Why didn't you stop her yourself, Victor?' Now that was weird, he recalls, and he tells his friends:' When she sucked at my vein, I got overpowered by a strong feeling of lust, and I didn't want it to end.'

Bruce prefers to go home for some sleep, he assures them that a vampire in the comatose state Mina is in, will not wake up in daytime, so they can safely leave her alone. 'But won't she attract another one of those creatures?', the doctor asks. Adison isn't sure:' But I don't think she will, I got his mark off her really well I think.' Bruce agrees with her, then sets off for home. Victor does not want to stay awake the rest of the night, but neither does he want to leave her all alone in a strange house. They suggest he gets one of the pallets from the attic and into her room, and he decides he will do just that. And though he soon falls into a deep sleep himself, he still feels better knowing she is not alone.

Adison checks the gashes on Vincent's chest once more, seeing they are a bit swollen, but not alarmingly so. She is very relieved that it is all over, though taking Sir Malcolm's daughter with them and keeping her at their own house seems a bit dangerous to her, even if she can feel no evil left in her. Still, she is too tired to really worry about it, and tomorrow will be very interesting. Maybe they will hear a bit more about the enemy they are up against, and about Vincent's past as Heathcliff. It is clear that Mina knew him under that name. Maybe she can shed a bit of light on his life's history until he was killed in a brawl.

But for now, they crawl into their comfortable warm bed together to enjoy some intimacies after a stressful and exhausting day. Taking care not too touch the clawmarks on his chest and the smaller puncture wounds in his neck, she caresses every inch of him, glad they spent so much time learning how to fight. She asks: 'Did you lose control fighting today? Against such a vicious creature you'd almost have to.' 'Now you mention it, no, I didn't', he says,'I knew exactly what I was doing the whole time. I think we're one again, my violent part and me.' 'Good for you', she breathes, not stopping for one moment with her caresses. Despite a really tough day, he has some energy left in him to produce a surge of passion. He holds her tight, and a lot less considerate of his own injuries, he returns all the caresses to her. Afraid that if his wild self doesn't surface in such an attack, it may be gone for good, she is tempted to draw it out, but with his injuries and after the events of the day, she cannot exhaust him even more. So they keep it small and tender, and make love carefully. Then they give themselves up to sleep.

Chapter 15

The next day, and probably none too early after their nightly excursion, Victor wakes up confusedly. He has had really vivid dreams, but he can only remember some colourful impressions of places he has never seen. A bustling city, sprawling with dark skinned people in colourful flowing robes and market stalls overloaded with exotic fruits. A temple, overgrown with a lush green forest, with noisy, long limbed creatures with flowing tails jumping through them. Weird. As he slowly comes out of the fantastic world of his dream, he remembers where he really is, and what has happened last night. His senses register that the room is still totally dark, even though it must be full day outside. And his wakening senses also register that he is not alone in his improvised bed. He can feel something pressing against his back, and he feels an arm around his shoulder. Very carefully, he turns around, seeing if what he thinks has happened is indeed true. Snuggled up really close to him, he finds Mina, fast asleep in the comatose state of her kind when the sun is in the sky. How did she wake up to sneak in beside him? She should have been comatose from the moment she went to sleep last night! And suddenly he realises there is an even more profound question: Why would she wánt to sneak in bed with him? He feels...elated. There is no other way to describe his feeling at realising she must have woken somewhere before dawn set in, and then chose to seek comfort with him. With him, Victor Frankenstein, who until a year ago had only had close contact with dead people. With a knife.


	7. Chapter 7

Suddenly he realises that technically, the woman lying next to him is dead. The irony makes him laugh, but Mina doesn't react. Clearly she's comatose now, even if she apparently wasn't yesterday. She doesn't feel as cold to the touch either, she is probably warm from his own body heat. Maybe that is what she sought in his bed, just a little bodily warmth to heat up her cold blood. But something in him knows that isn't true, he knows she came to him as a human, as a person she trusts and maybe..loves. He stays with her a while longer, enjoying the feeling of having someone sharing his bed. She really is incredibly beautiful. Taller, and fuller of body than Adison, and somehow even more woman because of that. She looks totally at peace now, not in pain, not plagued by insecurity or remorse. To a vampire, sleep apparently is the total rest that humans can only wish for. This reminds him of his lively and totally unfamiliar dream last night. That must have come from Mina, he knows she has been to India, and that far country must look a lot like the place of his dream. But if that is true, if a vampire dreams too, they cannot experience total peace in their sleep. And if the body is powerless, and the mind just as restless inside, without the ability to wake up out of a nightmare, the enforced sleep of a vampire may become torture, especially if the vampire has escaped being controlled by evil like Mina. If she remembers anything from her past, she may suffer a lot of guilt, more than she can handle by herself. Well, he has done some despicable things too, not even controlled by an evil master, so he hopes she will choose to confide in him if she needs to share it.

When he enters the kitchen, Vincent and Adison are still there, having breakfast. The sun is already high, the day half gone. Small wonder after such an excursion. They greet him as one, Adison stands up and gives him a good warm hug. How does she always know what he needs? Vincent looks fine, Victor asks: 'Do you feel as good as you look this morning? Wounds not bothering you?' Vincent says: 'I feel fine, it hurts of course, but no swelling, no fever. A few painkillers and I'm ready for the stage tonight. And how is your patient?' He must have reacted, for Adison asks concernedly: 'Something happened, nothing bad, I hope?' Victor sits down and accepts the cup of tea that Vincent hands him. How to tell this? Sipping from the cup, he starts: 'She looks fine, comatose, but her colour and temperature are fine, as far as I can tell. She breathes, very slowly and very shallowly, but I think that's normal as well.' He tries to formulate what happened, just the facts: 'Remember Bruce saying she wouldn't wake till sundown today? I dreamt of exotic places and strange people, and woke disoriented. When I came back to the now, I found myself in Mina's embrace. She was fast asleep right behind me. Her body was warm through my warmth. My movement didn't wake her. She must have woken up before sundown and decided to join me in my bed. Why do you think she did that?' he asks, almost plaintively.

This of course is for Adison to answer, though Vincent experiences a shiver of recollection, involuntarily reminded of the utter loneliness he once felt himself. Adison remembers that moment as well, he can see it in the way she looks at him. Then she looks at Victor: 'Dear friend, she probably woke up in the night, sad and very lonely, and she felt the need to be close to someone, someone who had been nice to her, even sweet. You saved her, then fed her and you accepted her hand and held it. She was probably very glad you were there for her, even though you were fast asleep.' Victor is silent for a few moments, then confesses: 'I'm afraid I'm already more than halfway in love with her. Do you think I'm setting myself up to be hurt? Did she only come to me because there was no-one else, because I was the warmest thing near? Miss Yves told me she is married.' Adison tells him frankly: 'Of course you can get hurt, my dear, love always gives the other the power to hurt you. But yesterday she seemed very encouraging towards you. You are a very sweet and handsome man, you know. As for her marriage: can you seriously imagine her going back to her husband as a vampire?' Now Vincent looks quite concerned: 'But please Adison and Victor, do remember what Bruce said about magick! Though on second thought, she's had her share of your blood already, so that is kind of too late.' They are all a bit sorry that it is only late summer, for they will have to wait that much longer until she wakes up.

'That reminds me,' Vincent says, 'you will want to stay here with her, Victor, but wouldn't it be safer if Adison is here as well when she wakes up? The enemy may want her back.' Adison looks at Victor:' What do you want, do you want me around?' Not wanting to separate the two lovers, but not quite ready to face a beautiful young woman on his own either, he says: 'Actually, I would feel safer with you around. Not because I think she is still under the influence of the enemy, but because I'm afraid to mess up. I'm not entirely accountable with her around, I'm afraid.' Adison looks at Vincent worriedly:' Will you be all right on your own? You're still wounded pretty badly.' Vincent agrees: 'I know, therefore I'll send a boy to Bruce and ask him to pick me up and bring me home. I'll have the best fighter in the city as my personal guard.' And with that, Adison is completely satisfied.

A day passes fast when you get up really late. And before they know it, Bruce is there with Maud, to take Vincent to the theatre. Adison has fed him some painkillers, and given him some for the rest of the night. She has padded the wounds extra firmly, to be sure he will not bleed for real on stage. Whilst the guys talk about the events of last night, she draws Maud aside and tells her Vincent is wounded, knowing he'd never tell her he is in pain by himself, but certain Maud will take care not put pressure on his chest the coming nights. Maud promises to keep an eye on him in Adison's stead.

As they set off, dusk is beginning to fall. Adison urges Victor to stay at Mina's side: 'It is important that she is not alone when she wakes up. You go sit with her. Don't feed her without me, though. She has probably never spared her prey, so until she knows when to stop I want to be there. I love you too, you know.' This encourages Victor to actually dare sit with Mina, and he picks up some notes that need sorting and a book, and enters her room. It is pitch dark, so he lights a lamp. Then he sits down on the bed and watches Mina sleep. She hasn't moved a muscle since he left, and she is showing no signs of waking up yet. He wonders what she will feel like when she wakes up, will she be glad to be free, or will she feel guilty for the things she has done. Or maybe she will be like Vincent, totally forgetful. Though he doubts that, Adison would never do that to anyone, her cure cannot have been like a lightning strike combined with the chemical mixture he infused the body with to resurrect it. Not only did it cause Vincent the excruciating pain, but he thinks it also bleached his skin to white and his eyes from brown to yellow. He has burned his notes on that process, not wanting anyone able to repeat it.

Musing about his own misdeed, he has forgotten all about his notes and book. He has felt guilty a lot, realising he tried to outdo God without having any insight in the consequences. Imagining what might have happened if Adison had not been there is very painful, and he has used it often to punish himself for his hubris. But at the same time it has brought him so much: friends, love, a new career as a practicing doctor, weapons skills. It is a strange paradox, but he has learned to live with it, trying to make amends, try being a better person. He hopes that in time, he can help Mina to face her misdeeds, too. Suddenly he becomes aware of a small sound. Concentrating on it, he guesses it must be someone weeping softly, afraid to be heard. Mina. She must be awake, and not well.

Shyly he moves towards her, seeing her still lying on his pallet, but curled up like a child, head covered with the blanket. He doesn't know what to do, this has never been his strength. Thinking of Adison, he starts with just carefully touching the girl, to let her know he is here for her. The sound stops, and very slowly she looks up. Seeing him, she shows him her anguished face, and he no longer needs to think of what to do. He hold out his arms to her, and she unhesitatingly moves into his embrace. With her face on his chest, still crying quietly, she holds on to him so firmly it nearly hurts. He strokes her beautiful blond hair, and waits for her to say anything, do anything. And for a while nothing else happens, they sit there, holding on to eachother. Then Victor breaks the silence, asking: 'Are you in pain?' And she answers: 'Not in physical pain, no. Your operation worked perfectly, though I still don't understand why you saved my worthless shadow of a life. I was one of the enemy, why didn't you leave me there to die?' Victor cannot take blame or credit for that:' That was Adison's decision actually. She got the enemy's hooks out of you, then took you along with us. I suppose she judged you could be saved in both ways.'

She looks up at him again crying: 'I've done such terrible things, you cannot imagine. You'd hate me if you knew, I hate myself for it.' Victor brings his head really close to hers, touching her face with his. 'You were under an evil spell, you must not hate yourself for everything you did. Take responsibility for the decisions you made when you were still your own person. And try to become a better person than you were, make reparations and in time, you may forgive yourself.' His plea to take responsibility has touched her, and she says: 'It sounds as if you have been through that process yourself, as if you have once made bad decisions and did evil things because of that.' He replies: 'I did, and I did them in full possession of my senses and of my own free will. I have tried to make reparations to the person I hurt deeply, and he has forgiven me, he even loves me now. I hope I have become a better person since then as well.' Mina has stopped crying, but she has not tried to put more distance between the two of them. If anything, she feels more comfortable in his embrace, interested in his history of making amends rather than bent on feeling sorry for herself. 'Will you stay with me? May I stay with you? I feel so lonely,' she pleads. In answer, Victor smiles at her and finds the courage to kiss her hair. It smells just like a normal woman. He answers: 'I was just going to ask you the exact same thing.'

After half an hour, they hear a knock on the door, and at their invitation Adison comes in. Victor realises that though she is not even twenty, she is the pillar under their little group. She can fade into any background completely, but she can just as easily take charge and delegate under any circumstance. No-one even suggested leaving Mina behind to die when Adison decided to take her along. And though she was in a really bad state when it happened, Mina clearly realises, that though Victor removed the bullets and thought to feed her, it was Adison who saved her from possession and certain damnation. Her face lights up as she sees Adison, and she is very happy to get a familiar hug from her. Apparently Adison is perfectly ready to include Mina in their circle. She sits on the bed and asks:' How are you doing today, feeling better?' Mina answers:' I'm perfectly fit and in no pain, and very glad to be free, but I'm starting to realise what has happened to me, what I have done to others, and what I have lost. Victor has already talked to me about it, he understands very clearly. But it will take some time to adjust to my new situation, and to accept responsibility for my actions.' The realisation that has set in distresses her very much, this is easy to see. Victor longs to comfort her again, but he doesn't want to push himself on her. He catches Adison's eye, and she sends him an encouraging look, nudging him towards Mina. He does take courage and takes Mina in his arms again, and she relaxes into them, resting her head on his chest. She is crying again, very quietly, and Victor bends over her, sheltering her from the world. He feels her pain, and resolves to help her find her way through it, until she can accept the direction her life has taken.

Adison feels kind of superfluous, so she sneaks out and closes the door behind her. There will be plenty of time to share information with Mina, and hear her memories. Vincent needs to be there anyway, for is is clear they knew eachother in his former life. Adison finds that thought a bit unnerving, what if he finds out that he is married, and he starts to remember a wife and children? Where would that leave her? She is so attached to Vincent now, could she live without him, have him revert to his former name and life? Still, she knows they need to see this through, they all have a past looming over them, and she will have to find a way to live with that. She busies herself with the books she has borrowed from her magic teachers, and lets herself be immersed in the knowledge that may save more lives and souls in the days to come. When Vincent comes back, she will be ready to face his past with him.

Chapter 16

It feels weird, walking to the theatre without Adison. Bruce and Maud are chatting merrily, Bruce nevertheless very attentive to what happens around them, though no-one would notice. Besides Vincent, that is. Bruce's vigilance gives him only a slight sense of security, he feels vulnerable, being wounded and not at his fittest. Or maybe he just misses Adison's stable presence. Or maybe he's afraid she has misjudged Mina, who may also have spelled Victor with her vampiric charms, putting both people he loves at risk. Or maybe he is afraid what she will reveal, what evil he has done, what ties he had when he left that life. He will probably hear more than he wants to. He has never felt reluctant to play his role before, but he does not have his heart in it tonight. As nothing escapes Bruce's notice tonight, they have no sooner arrived at the theatre, and seen Maud off to the dressingrooms, before Bruce pushes Vincent into one of the thousand nooks and crannies of the ancient building. 'No-one can hear us here, so tell me what is riding you,' he says. Vincent knows he cannot shine on stage feeling like this, so he obeys readily: 'I miss Adison, I feel unprotected without her. I feel vulnerable because I'm not fit, my wounds hurt and I can't fight to defend myself. I'm afraid Mina will come forward with all kinds of sordid details of my former life, with grotesque misdeeds, or maybe an abused wife and children somewhere in or out of the city. And I'm afraid she fooled us all and is still evil, has tricked Victor and Adison, and is now doing unspeakable things to them. That's all.'

Bruce does not fall for the attempt at a joke, he knows these fears are serious and even well-founded. Vincent is a very protective man, and trusting the self reliance of his loved ones is hard for him. And his totally opposite fears are even more realistic, he is helpless to magical attack without Adison around. Bruce thinks about his answer for a moment, then tells Vincent:' I understand your uneasiness. Fact is, without Adison you have no protection against magic. But it is not easy to spell someone, they have to be open to it, and I think you are so devoted to her you will be safe from temptation. I can protect you from physical threats and don't underestimate yourself: you may feel lousy, but you can still beat anyone in this city but me, unarmed if need be. Adison cannot be tricked by something evil, but she could be fooled in a smaller way, which would possibly hurt Victor, but not tonight. Also, Adison and Victor are not helpless, they can defend themselves very well, even against a vampire or one of those creatures I think. Though I think you will find Mina everything she seems to be: a young woman, tricked by an evil master into doing horrid things against her will. If she reveals misdeeds out of your former life, you can process them right along with her, for she'll have plenty of her own to get to terms with. Also, you'll be home before you know it. Do you need any painkillers, or a massage or warming up to smoothe your muscles?' Vincent seems relieved already: 'No, I just needed a big reality-check. You are right, Adison and Vincent can take care of themselves. I just miss having them around.'

An hour later, both are ready for the stage. Maud is looking lovely, already waiting behind the scenes. She steps up to him and hugs him really carefully. 'I'm sure Adison and the doctor will be fine. It is always hard to be parted from a loved one, but she will be waiting for you when you get back. I promised her I'd take care of you, and I will. Are you in a lot of pain? She told me you've been wounded.' Surprised that Adison would confide in Maud, he tells her: 'It does hurt, but nothing I can't handle. I'm surprised she told you.' Maud laughs: 'We girls have to stick together. You need looking out for, and I'll be closest to you.' Standing on her toes, she kisses him on the mouth, but with no intention to take it any further. He accepts the kiss for what it is, a sign of intimate friendship common in a closeknit group like a theatre crew, and gives her a bear hug in return, careful of his chest, but feeling a lot better for the warmth of her friendship. Then they get ready for the show, and if he plays with a little less fire than usual, no-one in the audience and on stage even notices. After the show, they make as quick an exit as they can get away with, and he walks home so fast, that Bruce and Maud have to pick up their pace to keep up with him.

When she hears Vincent return, Adison is every bit as eager to see him as he is to be reunited with her. He takes her in as strong a grip as he can stand, painful to him but very satisfying to both. She kisses him eagerly, and he really has to control himself not to run straight to the fourposter with her, to rip off their clothes and make love madly. He knows she can see his intent in his yellow eyes, and feel it somewhere else entirely. But he also knows they have a house guest, now undoubtedly awake, so he stuffs his lust where it will keep, and just breathes in her ear with a husky voice:' I've missed you so much!' She merely looks at him in a certain way, and he knows she has missed him just as much, worrying about him even more than he did about her. 'What is the matter love?' he asks quietly. Adison admits: 'I left Victor and Mina by themselves, they needed that. But then I imagined how Mina would tell us you had a wife and four children in the city, and then you'd remember and leave me for them.' Vincent snorts derisively: 'Not very likely, if we believe what our friends told us. Why would a demonic fiend have a wife and kids?' 'I kept reminding myself of that, but I just wanted you to come back and say it,' she says. 'And now I want to take off your shirt, so I can check on those wounds. Come sit here, close to the fire.'

And sitting astride his knees, she carefully unfastens all the buttons of his shirt, then helps him out of it, baring his bandaged chest. The wrappings are still clean on the outside, which she is relieved to see. 'Maud was very careful with me, and she took great care of me as well,' he says teasingly. Adison does not rise to the bait:' She's a good girl, follows instructions to the letter.' When she removes the padding there is some bleeding from the smaller wounds, the ones she didn't stitch up. She cleans them very carefully, still sitting on his lap, alternating the cleaning with caressing and kissing the undamaged skin. The patient clearly expriences a rising passion rather than pain. 'You are a very bad girl, you make me want to get hurt more often, or heal more slowly.' He can't help distracting her from her work by kissing her intensely. When they run slightly out of breath, she continues her ministrations, nearly finishing before they kiss again. Then she has to get up to fetch clean bandages, and she wraps him up tightly again. Back goes the shirt, and she refastens all the small buttons neatly. Then she sits back on his lap and kisses him again. But they cannot keep stalling, Vincent needs to meet Mina and face his past. So they make a nice supper and knock on her door, knowing that Victor at least must be starving.

Her dress ruined, Mina has nothing to wear except the loose nightgown Adison gave her last night. But on Mina it is decidedly on the short side, and Adison's dresses are really too small for her. Victor promises to do some shopping for her tomorrow, he has a fine eye for fashion and will be able to find her some better fitting stuff. So for now she makes do with a shirt and a pair of loose trousers from Vincent's closet, his size matching hers better than the doctor's. Taking a shower is a real eye-opener for Mina, she has never had any of the modern conveniences. Clean and dressed in clean clothing she joins them at the table, though of course food is of no use for her. She does accept a glass of wine, she is able to digest it, though it will not set her drunk. Even if she tries to do it unobtrusively, it is clear she cannot stop watching Vincent. Finally, she cannot stand not knowing anymore and asks:' How come you look so much like Heathcliff, when I left him for dead a little more than a year ago? One just doesn't recover from a crushed skull.'

Vincent offers to shake hands, and when she accepts he says: 'I go by the name of Vincent now, and I have only started to remember smatterings of my former life as Heathcliff. And I think it is Victor's tale to tell how that came about. I though you would have heard it by now, you've already spent quite some time together.' At his knowing look, Victor colours and excuses himself: 'We've actually spent most of the time you were at the theatre sleeping, Mina is not totally recovered yet and needs more sleep than usual. Needless to say I could use it too. I don't know how you manage, playing a show day in day out after working through the night, being wounded quite severely on top of it.' Realising this is true, Adison feels a stab of guilt, not having thought of it herself. But Vincent makes little of it: 'Apparently you made me really strong and tireless, I really don't feel worse for wear.' Mina puts in her two cents here: 'You never slept much when I knew you either. But I'm nearly dying of curiosity now.' Adison and Victor are both pleased to see her piqued with interest, instead of sad and guilty.

Victor knows it is his turn to explain first, and he doesn't spare himself in his tale. ' The man you knew as Heathcliff was brought into my pathology workshop dying of head trauma. I had been planning to create a superhuman by treating a corpse with a special chemical mixture, then starting the heart again with electricity. This body was in excellent shape and looked very strong, and the damage that was killing it could easily be remedied once he was dead. There was a severe thunderstorm predicted the day after, so I kept him alive until it arrived, then killed him, fixed the skull, set him up in my machine. Lightning struck, he came to life, but he was covered in blood through my sloppy suturing and in excruciating pain because of the lightning and probably the chemicals as well. His screams of pain and the blood made him look horrible, and when he saw me and came towards me he seemed mindless and very agressive, and I fled, leaving him behind to suffer the pain in loneliness. His cries were heartrending, but I heard them as threatening. Adison came up from next door in reaction to his screams and saw straight away what I had missed: my progeny was not mindless and violent, but in agony, his mind wiped by my procedure, a true newborn with no sense of self. She cured his wounds and filled his loneliness. She gave him love and instruction. She and I set up a practice together, and Vincent grew up within a few months. I felt a lot of guilt towards Vincent, for in the beginning he was really afraid of me. When he was grown up, we became friends, and then he and Adison discovered that they loved eachother. Though I was afraid they'd leave me, they stayed, Adison and I continuing our practice and Vincent starting a career as actor. Through my work as medical examiner your father found me, getting us all involved in your situation.'

Mina now feels justified to take a good long look at Heathcliff, or Vincent, as he is now called. She catches his eye, and speaks directly to him: 'You are nearly the same man to look at, you have the same strong body with its erect carriage and proud bearing, the same longish black hair, the same facial features. But there the resemblance ends. Heathcliff had very dark, nearly black eyes and a swarthy skin. Your skin is so white as to be nearly translucent. And your eyes are very different, the yellow colour gives you the same intense stare as Heathcliff had, but I also see life and friendliness in them. You have a sense of humor, he didn't.' She stops talking, looks at Victor, and asks him:' Did your chemicals do that, bleach his skin and eyes? It must have been strong stuff, small wonder he had no memories.' Then, at Vincent again: 'Your face also looks softer, that may be the colour or because you seem to lack a beard. But I don't think that's it. I've already seen you laugh, you enjoy life, you have things you like to do. And you have love. Heathcliff loved someone too, obsessively, but their relationship was twisted. They hurt eachother, wanted to control, possess the other. You seem to love more freely, more givingly. Adison is the total opposite of Catherine, your great love in your former life. She was demanding, unreasonable, unstable. When his Cathy died, Heathcliff became even more morose, vengeful and downright cruel. You might have become like him, had you been left to pain and loneliness. The doctor is right to reproach himself for the sin of raising you from the dead and abandoning you. You would have become a worse monster than Heathcliff was, and a lot less easy to kill. I see you walking around and you have been performing in a play with wounds that would have sent another man to bed for a week. Does anyone of you realise what that means?'

Looking at the three for an answer to her question, she sees Victor looking very depressed, clearly this conversation has raked up his guilt. Adison has a calming hand on his shoulder, reminding him he has long since made up for it. With everyone else looking at the doctor, Vincent follows their attention and notices Victor's demeanor. He reaches over the table, takes the doctor's delicate face in both hands, stares at him: 'Dear Victor, you know that we're way past that. I've long since forgiven you, Adison has not ever held it against you. You made a mistake, the worst didn't happen. It all turned out right, and you are a totally different man now. I love you, you know that.' Looking at Mina, he says: 'He did give me this life, as you said, a happier life, with real love and with things in it that I love to do.'

Now Adison speaks: 'That is exactly what Mina means guys! Heathcliff was a monster, Vincent could have been a monster, but he isn't. He's a loving man, who enjoys life. Her former master's plan is nearly in ruins. And now we've freed her as well. Oh my, that means we're in terrible danger, doesn't it?' Mina takes her hands and says frankly: 'Yes it does, Adison, we are all in danger, and since you've foiled him most, you're in the most danger. But you've already saved our souls and he hasn't been able to get at you. So you see, we're not totally helpless. I don't want my father to know I'm here, because he trusts Vanessa, and she is the weakest link we have. She cannot know I still live, free of the thing that ruled me all this time. The enemy'd find out sooner or later.' 'What can we do?' Vincent asks. 'First, I will tell you all about your past, and how you got to be the Heathcliff I knew. Then we need to get Vanessa cleared of the enemy's taint. She is the last active part of his current world domination plan. Then we enjoy life, learn to live with our pasts, prepare for the future, until he has cooked up some other plan we need to foil. But first, you all need to eat and a good night's sleep. I'll take first watch tonight.'

After supper, they spend another hour together. Mina tells them how she met Heathcliff after he'd eloped with his girl, escaping her cruel brother and a loveless marriage. He had convinced her he'd take care of both of them, that he would make their fortune in the city. 'And he did, she never lacked anything material, but somehow they were never truly happy together. Do you think people can love eachother too much? Serving my master didn't help of course. He didn't control Heathcliff as totally as he did me, but he knew exactly what his weaknesses were and used them. He employed Heathcliff as intermediary when he did business with people, and Heathcliff had a certain charm that made him very good at his work. Soon, he was able to afford a nice house, with staff, and beautiful things for his girl. They got married, at her insistence. But my master slowly but surely put Heathcliff on a path to self-destruction, dragging her down with him. Heathcliff gambled a lot, and won a lot of extra money with it. Also, my master got him to dispose of people now and then. And he taught him the rudiments of sex-magick, enabling him to use his twisted relationship with his dissatisfied and passionate wife to get magical power to become even more charming. I think my master was grooming him to become his vessel, taking away his conscience bit by bit, crossing the line of humanity a bit further with every murder he committed, every beating he gave to or took from his wife.' Vincent swallows hard and says: 'I saw one of those lovemaking sessions in a flashback. It made me sick to the stomach, but I felt the passion, and to someone who had never felt real love, it might have seemed like an all-consuming love.' Mina nods: 'I think he'd never had any love as a child, so he wouldn't be able see that the feeling they shared was something else. And she was as mad as he was, I think, but again, she truly loved him in her way. He was well on the way of becoming the vessel for my master, a vessel my master needed to marry the goddess that had succeeded in tempting Vanessa in her youth. She had not and still has not been won completely, her love of me and her sense of self still hold her back, I think, but not enough. She should have been a man, travelling and exerting herself would have filled that eternal emptiness inside her, but being expected to behave as a noble lady drove her to do desperate things out of boredom.

Then Cathy died. My master wanted to be rid of her, I don't know if he helped her along, but she had been weak in the mind always, and Heathcliff being away a lot and not telling her what he was about didn't help. Also, his character change reflected on her, their love changed as he did, and became ever more sickening. They were chained together for life, and when she died, he just went mad. He became a wild beast more than a human being, his veneer of civilisation dropped off him and his real nature showed. There was no way my master was going to trust his future to a vessel as cracked as Heathcliff. He decided to try to make him useful after all, by having him killed, putting him in the way of the doctor, and hoping to get hold of him with his mind wiped and with superhuman strength. How he knew what the doctor was planning I don't know, but it was easy to predict that a resurrected Heathcliff would frighten the doctor, for at that moment the man was a fright to behold. I was part of the setup to kill him, I had no conscience then, but something in me still thought it would be a relief for him to die. When I actually met him in that bar, he was different, almost like his own self again, but it was too late: he sensed he was in danger but reacted distractedly, and got hit by one of my master's henchmen. They delivered him to you, and hoped you'd take the bait. The rest, you know. Adison saved all of us, for you would not have survived the rise of your progeny to godhood.'

This is a lot to take in. They sit in total silence for a while. Strangely, Mina is already part of their circle, totally included. At last, Adison breaks the silence: ' So that great battle I was afraid of is not coming?' Mina replies: 'There will always be a new battle, but I think this time it was not fought with arms, but with dedication, and you were the main soldier. There may still be one ahead, but I think that once Vanessa has thrown off her possession, and has found something in her life to keep her busy and away from temptation, all will be well for some time. Dad should take her to Africa. If I ever get the chance, I'll advise him to do so.' Adison looks very relieved: 'I think I'd like to go to bed now, Vincent. I have been afraid to lose you two since I had that premonition, and now I feel light as a feather. Thank you Mina. Will you two share a room again tonight?' Her inquiry is frank and open, and Mina answers it gladly, addressing Victor: 'Will you stay with me tonight? It would make me very happy.' He has been beating himself up how to ask just that the whole night, and now it turns out he only has to say: 'Yes, please!' They walk away from the table, hand in hand, still very conscious of eachother and themselves.

Chapter 17

Thinking of the interesting time they have ahead of them, Adison sighs audibly. 'What is that great sigh for?' Vincent asks her, smilingly. 'We were never so shy with eachother, it's just so sweet,' she replies, dreamingly. Suddenly, she feels two strong arms seize her, and the next moment she is crushed to a rather broad chest. Looking up, she sees two sulfurous eyes gazing at her, and a deep, husky voice says: 'Sweet! I'll give you sweet, woman!' He lifts her off her feet easily and carries her to the fourposter, throwing himself on the bed with her pinned under him. Still holding her gaze locked in his stare, he kisses her passionately. And whilst not exactly ripping off their clothes, they do hurry to get rid of the layers between them. Adison soon finds out that her fear of Vincent having lost his violent self is completely unfounded. The glorious beast is still there, and his lovemaking is as wild as ever. And then the husky voice, so much Vincent and still so different from the actor's clear baritone, says: 'So tell me, Miss Adison, now I have a name, will you marry me? Will you be Mrs Vincent Heathcliff? Even if mothers scare their children with my name, and horses kick their stalls in fear when I pass by, will you love me?' Taken totally by surprise, and delighted with Vincent's releasing his dark side, she soon manages to whisper: 'Yes, my love, I will. I will love you forever and I will certainly marry you!' And then the moment for wild loving has passed, and they return to tenderness.

Knowing he is one and the same person, the difference is still so profound that she can't help asking: 'That really was you, wasn't it?' For answer, he takes her in his arms so tenderly that her full heart nearly bursts. His slightly tragic actor's face gazes at her in an expression of total surrender. 'Since you fell in love with him at first sight, and we're both taking his name in a way, I thought it'd be only fair he'd ask you himself.' Laughing, she jumps on him in retaliation for teasing her in a moment like that, only remembering his wounds when he stifles a cry of pain. With an: 'I deserved that, don't worry, it wasn't bad,' he strokes her cheek, and continues: 'Of course that was me, love, I couldn't bear even the thought of you marrying someone else. And now I may need a new bandage.' And indeed, their wild love-play and her impudent move have caused him to start bleeding again. 'Stay here', she says, and she fetches her bag. And again she makes dressing his wounds such a sensuous deed, that when she is done, they have to repeat their whole lovemaking, only a lot quieter, or they'd never get any sleep tonight. Lying side by side, they think and talk of the day a bit more, then go to sleep.

In Mina's room a few doors further down the hall, Victor decides not to offer to remove the pallet. She has been free of a demonic master only one night, and whilst he can imagine she doesn't want to be alone, that doesn't automatically mean she wants him to share her bed. He doesn't even want to think what has been done to her, a young beautiful woman in total submission to an adept in blood-magick and sex-magick. Anything she wants to share, he will listen to, but even if he dared, it wouldn't be fair to ask for more. Meanwhile, Mina realises she has a serious crush on this man. He is beautiful, competent and at the same time so incredibly vulnerable and shy, he's irresistable. But also very difficult to approach, he has such protections built around his heart. If he has ever only trusted his two best friends with his love, how can she ever hope to win it, with the taint of evil still around her, and with her past of betrayal and servitude to a master of blood-magick and, God help her, sex-magick. Why would any man want to associate with a woman like her, a vampire at that? If he hadn't been so shyly encouraging so far, and if Adison hadn't practically thrown him at her, she'd give up without even trying.

As it is, she tells herself to be patient. They will be living together for quite some time, and his friends have accepted her above her expectations. Just wait and take small steps. As he sits down next to her, comfortably close but clearly everything but relaxed, she wants to forget common sense, grab him and kiss him on his well-shaped mouth, sitting astride his boyish figure. Instead, she reaches for his hand, and holds it until he does relax. Apparently that is enough for him, so it will have to do for her too, for now. Or, she can just ask him.

'Do you want to share a bed tonight, Victor?' she dares to ask. He tenses up instantly, but manages an answer: 'Very much so.' Encouraged, she goes a step further: 'And would you like to kiss me?' Too big a step, now he's struck dumb. Or is he? He nods, and forces the words out: 'Of course I would. But with everything you've been through, why would you want to...' His voice fades, but she can suddenly read his mind: 'Why would you want to be intimate with a man after having undoubtedly suffered abuse.' Now she's getting somewhere: 'I wasn't abused in that way, Victor. I was bait for Vanessa, and not expendable. I did horrible things, but I did them because vampires see people as food and entertainment, not as individuals. Now I'm free, and I think as a human again. And I believe in love at first sight again. I find you beautiful, and I admire your mind and your clever hands. And your shyness attracts me like a beacon on a moonless night. Would you please hold me?' It is easier when she asks him things, things he would never dare to say or do if left to himself. Holding her is one of them, and once he has his arms around her tightly, her head resting on his shoulder, he finds it gets easier to dare things. Like letting his own face touch hers, and saying: 'I believe in love at first sight too. I do since I first saw you yesterday. But I would never have dared to do anything about it.' She does not say anything, but she lies down on the bed, taking him with her. And then she kisses him, as intensely as Vincent kissed him that first time, but gentler, so much gentler. He doesn't experience intense lust, or a burning desire to have passionate sex. He just feels an all-overpowering sense of belonging, a sense of rightness. Mina knows that this is as far as they are going tonight: holding eachother, kissing and feeling complete. With this sensitive man, she will have to take it slowly. But he has already admitted he loves her, and that is so much more than she expected just a few minutes ago.

'Do you need blood tonight?' he asks tentatively. 'I could do with some, but I can stick it out until tomorrow easily,' she says. 'Please take what you need, I felt fine today,' he offers, 'will you bite me this time, in my neck?' Mina objects: 'I thought you wanted someone present the first few times, to make sure I know when to stop.' Reminded of that, Victor thinks about it: 'I trust you, you'd never harm me. Do you trust yourself?' She considers: 'I am conscious now, and I'd rather kill myself than hurt you. And if I don't project lust on you, you will be totally aware so you can stop me yourself. I have spared my victims at times, but I've never fed off someone I loved before.' Victor really wants to share this with her, and he is not afraid she'll drain him. She was nearly dead the last time, and in a coma. 'I want you to bite me in my neck, so we will be really close. Will you do it?' The idea of feeding off him exites her quite a lot, and he smells too good to be true. Still, she needs to be honest with him: 'Feeding on your blood will be incredibly stimulating to me, you know. We've been taking it slowly so far, I don't want you to feel forced into any intimacies that you are not ready for. You can give me your wrist tomorrow, at the suppertable, and I will be totally fine. We have plenty of time.'

But he has felt her little shiver of anticipation, and it exites him immensely. He isn't afraid of getting fired up a little. He makes his decision, and offers her his throat. 'Please do it, I want it. I want you to get really horny, and I want to feel that way too. Don't project lust on me, I want to feel only the real thing.' So she smells his neck, taking in his scent, feeling his delightful warmth. She smells and feels no fear in him, just eager anticipation, like her own. His skin is so appealing, she licks it to get a taste, sending a shiver through him. Extending her canines, razor sharp, and an inch in length, she shows them to him, ready to call it quits if he so much as blinks in fear. But he doesn't, he even wants her to kiss him like that. Careful not to cut himself he explores her mouth with his tongue, expertly avoiding the razor tips of her canines. When they break off the kiss, he exposes his throat to her again, and she strikes. He feels a short, sharp jab, and then her blissfull sucking. This time, he feels lust rising, but it doesn't distract him from what is happening. He relishes the intense feelings he experiences, feeding the woman he loves, and feeling her passion rising. She takes it really slowly, not forcibly sucking out his blood as she did last night, feeding to save her life. But rather letting the blood flow from him to her, using just enough suction to stay connected, preventing spillage and giving him that exquisite feeling in all the nerves of his body. Feeding slowly, she can make their bond last, but after four or five mouthfuls she breaks it. A few more drops well out of the small holes in his neck, and she carefully licks the punctures until they stop bleeding. With iron self-control she looks at him, to see how he feels. Those last few licks just did for him, he is overcome with love and lust, and he is ready to let it out.

So, Mina gets what she wanted from the first: she can sit astride this beautiful man, and kiss him to her heart's content. Then she can touch him everywhere, his blood still tingling in her mouth, and coursing through her body, spreading its warmth. He is caressing her too, with decided heat, but still tenderly. She wants to feel him inside her, and she knows he is as ready as she is, she feels his erection touching her. But despite his need, he first shows her he is not as green as his shyness suggests. His expertise brings her one climax after another, tempting her to try some similar tricks on him in return. They make a glorious finish, then collapse exhaustedly. Mina says hoarsely: 'That was very unexpected. I've never been fed or loved like that before. You look so...innocent.' Gloating a bit, and intensely happy, he replies: 'I ám innocent, and very shy. That was just so..incredibly good. Feeding you, I mean. I couldn't control myself. But you could, I feel fine, not dizzy at all.' Yawning hugely, he adds: 'But now I really want to sleep, will you be able to sleep already?' 'I'll stay with you until you are sleeping deeply. Then I'll pay a visit to your library and amuse myself for a few hours. Tomorrow, you'll find me at your side again.

You know you have fabulous blood, very hot, and very tasty,' she says. Victor asks: 'Will you be able to live entirely off me? Can one person make enough blood, and won't the taste get boring?' She laughs and strokes his hair and cheek: 'Your blood will be plenty for me, you'll get used to eating more and producing new blood. And it'll never bore me, blood changes taste with everything you do: the food you eat, drinks, even alcohol affects me if you've digested it first, your state of mind, happiness, sadness, everything makes it taste differently. Go to sleep now my love, I will watch over you as you watch over me in the daytime.' And, resting his head against her soft body, he does just that. Mina watches him sleep for some time, stroking his hair and his face, more innocent looking than ever in sleep. When he gets restless, twitching, mumbling, she holds him until his sleep deepens. Then she covers him with the blanket like the sweet child he resembles just now, dresses, and finds her way to the library. She will need a candle to read by, but she can find her way around in the dark easily, a necessary adaptation of her kind to a life in the shadows.

Having found quite a lot of interesting books, some poetry, some novels, but also scientific publications and Victor and Adison's own essays, she realises she need not be bored at night for some months yet. Plenty of time to get Vanessa sorted out. After that, she can join Victor on his night calls, she'll no longer need to hide here. She starts on an essay, wanting to get to know her lover better. Soon, it catches her interest, and the candlemarks fly by. Then, she is torn from her concentrated reading by the sound of knocking at their front door. That is strange, Mina knows they have a medical practice, but no-one warned her of nightly callers. She decides to investigate, not wanting to wake anyone up until it has been proven necessary. Once she's at the door, she can hear sounds outside of a carriage waiting, she must have missed it coming immersed in her reading. Good job watching, Mina, she berates herself. She peeks through the spyhole in the door to see who disturbs their rest at this time of the night. And to her shock, she quite clearly sees Sembene standing there, her father's friend who masquerades as his servant. She needs to make a split second decision, will she reveal herself to him, or will she wake Victor or one of the others?


	8. Chapter 8

Chapter 18

Knowing Sembene as very stable and dedicated to her father's well-being, and more importantly, aware of the world of magic and its influence on people, she decides to risk the former. Something bad must have happened at her father's, probably involving Vanessa. This may be their chance. She opens the door, and sees Sembene recognise her, then pull a knife in less than a second. He's going to kill her, she realises. She cries: 'No, Sembene, I'm no longer controlled by the enemy, see for yourself! I know you can see evil!' Stopped in his tracks, her father's friend takes a good long look at her and puts away the knife. 'So you are, I can see no more evil in you. What is this miracle, what happened?' he says in a voice thick with emotion. Instead of killing her, he embraces her like her father would his daughter. She leads him to the kitchen, sets him down at the table, and explains what happened in a few short sentences: 'Father shot me twice, the last shot nearly killed me. The creature of my master took me away from them, but it ran into doctor Frankenstein's cleanup party. It went for Vincent, whom my master had ordered killed a year ago, when he was still a completely different person. But Vincent killed it instead, with a stake. I lay dying, not able to do anything. Miss Adison touched my face and said some sort of formula over me, and I came back to myself just before I passed out, near true-death. I asked her not to let my father know, because of Vanessa.'

Here she can see a strong reaction from Sembene. So his visit has to do with her. All the better. 'Just one moment more, Sembene, then I'll wake up the doctor to accompany you. They took me with them, never afraid I'd turn on them. Of course, I wasn't in any state to harm anyone. Victor, the doctor, operated on me, got the bullets out so I could heal myself. The lethal wound wouldn't close, the bullets had poisoned me and taken too much out of me. He cut his wrist en fed me his own blood. It revived me, we slept the rest of the night and the whole day, then we talked. Now I watch over them at night.' Sembene touches her in sympathy: 'So you're not entirely cured then?' he asks. She replies: 'No one can cure vampirism, Sembene. But I have my own free will back, and I've found love here. Will you please not tell father about me until Vanessa is free of her possession? The enemy might try to get at me, at us, through her. Adison can free her too, I'm sure of that.' Looking at her knowingly he says: 'I believe you, she gave me my power to see evil. If she could free you, I'm certain she can help Miss Yves. Miss Vanessa is indeed suffering from a possession, though she is still fighting it, we cannot help her. Your father sent for the doctor. We shall bring him Miss Adison instead, so she can cure Miss Vanessa. I will assist her.'

Quietly, she enters her room and gently wakes Victor. 'Wake up my love, your help is needed,' she tells him. As he sits up, she kisses him and tells him to get dressed. 'I'm waking up Adison and Vincent as well, Vanessa is having an episode and we need Adison to banish whatever is possessing her for good.' She leaves him to dress, and goes towards Adison and Vincent's room. She knocks on the door solidly, thinking it will take something loud to wake the two up. But Adison is already at the door, opening it up: 'Is it Miss Yves this time?' Mina nods: 'I think this may be your chance, Adison, but she can be violent so we have to be careful.' 'We'll be with you in a minute,'Adison says, 'we're already getting dressed.'

Within ten minutes they are all dressed and ready to go. They take a little time to form a strategy, this will be a dangerous moment for all of them. 'This will be mostly up to me,' Adison says, 'though your help would be invaluable, Sembene, you know her so much better than I do.' 'I'll be glad to help you, Miss Adison,' he says. 'Just Adison, please Sembene, we're partners in this. But who will come besides me?' Sembene says: 'Well, the doctor should come, he's your spokesperson.' They acknowledge that. 'And I'm not letting my love anywhere near danger without me to protect her,' Vincent says. Adison takes a good, hard look at him. He is still not at his best, and waking up in the middle of the night hasn't helped. But she knows he is right, she will be helpless against a physical threat for a few moments, and even in this state, he is a fighting force on his own. There is something to keep in mind though: 'The enemy really hates you, Vincent, that creature went straight for you. You may be in more danger from Miss Yves than I will be.' Victor intercedes: 'There is only one of her, and at least four of us, so I think Vincent will be safe enough. Mina, do you want to come?' She is clearly in doubt: 'I was planning to stay clear of her, but it would spread the enemy's focus to have me present. He may hate me even more than he hates Vincent or Adison. I can defend myself against Vanessa, and he cannot get dominion over me again. Not with your love and blood running through me, Victor.' Sembene observes: 'But your presence will greatly disturb your father, he may even try to kill you again. You can come, but you have to let me prepare him before you enter the house. Do you agree to that?' They are all glad he has thought of that, and they set off together, armed discreetly, to end this battle in the endless war against evil.

At Sir Malcolm's house, they wait in the carriage for ten minutes, whilst Sembene prepares his friend for the appearance of his daughter, turned vampire but freed from the enemy's touch. 'I hope we're not playing right into the enemy's hands, showing up as a group,' Vincent observes, 'but there is no way I could let you face this on your own, my dear.' Adison stays calm, nothing new there, of course, and states: 'If we have, he'll find he's bit off more than he can chew. We're not exactly helpless, and without vessels the enemy is limited in his actions. He can seduce and subvert, but he cannot attack us directly.' She has changed since that night on the ship, and the long talk with Mina. She seems aware of her change of status from assistant doctor to priestess, though her manners are still as mild as ever and she can still fade into the background easily.

Soon, Sembene returns to the carriage, with Sir Malcolm. He is greatly affected, tears streak his severe features, his expression one of great guilt, overlain with joy. Mina, seeing what her return has done with her father, jumps out of the carriage into his arms. They hug for what seems to be a long time. Then he faces her: 'Had I known you could be saved, I would have shot myself first!' She wipes away a tear from his strong face with a sleeve of her borrowed shirt, and says: 'How could you have known, when I didn't even know myself, until I found myself dying, but free of will. We will talk later, first we have to try to save dear Vanessa.' Her father addresses Adison directly: 'Miss Adison, thank you so much for saving my daughter from a fate worse than death. Can you help Miss Yves as well?' Adison replies: 'With Sembene's help it should be possible. But she will slide back immediately if her spirit is not recognised for what it is.' Sir Malcom clearly does not understand. Adison explains: 'Miss Yves has a very restless spirit, much like you. She needs to be active, travel a lot, see new things, do physically challenging things. Keeping her inactive as your class does its ladies has driven her to extreme boredom and depression, opening her to temptation. You have to take her along with your next expedition, not as a burdensome lady, but as an active member of your team, able to cook, prepare a camp, communicate with the natives and if necessary fight, eager to explore and document discoveries. In short, as one of the men. If you don't, you'll lose her again and again, until she is damned forever.'

Sir Malcolm acknowledges the truth of that statement, and they follow him inside. They decide to all go into her room together, and see if she lets Adison and Sembene touch her. Miss Yves is a mess. Her hair is unkempt, she has dark circles below her eyes, and her nightgown reveals she's as skinny as a teenage girl in a growth spurt. She raves in a dark voice, and she cannot seem to sit still for just one second. Adison feels almost ashamed to witness her like this, such a beautiful proud woman brought so low. She approaches her, Sembene at her side, Vincent right behind her. Miss Yves coos at her with a different voice, a girl's voice, calling obscenities, until she beholds Vincent. She seems struck by the sight of him, as if she only now sees the truth about him. And of course, this may very well be so. The childish voice addresses him: 'Look there, it's Heathcliff, my husband to be. But what have they done to him, his teeth pulled, his fire quenched. He looks like a big baby, but he's been a bad baby. Killing, and beating, and torturing, he loved that. Now he's caught by a witch, caught in her net. Poor baby, could have been the boss, always underfoot now.' Vincent shows no reaction to her talk, he's the actor being mocked in a play, it's not real to him.

Miss Yves moves on, finds Mina. Now she switches to the dark voice: 'And my bad, bad sister. Looks lovely, but she's done horrible things you know. She ate mothers, with the babies still in them. She's seen a lot of men, a lot of them. Of course they're all dead now, eaten screaming for their mothers.' Then turning to Victor:' She'll eat you too. Lovely, sweet, innocent, smells good.' Adison feels this has gone on long enough. She bars her way, calls out: 'Miss Yves, I know you're in there, please talk to me.' Vanessa hardly sees her:' Girls, girls, girls, not interesting. Go marry your baby, go away.' Now Sembene touches Vanessa, and in her, a struggle becomes clear. This is the moment that Adison takes her face in both hands, and speaks the formula. But Miss Yves may be emaciated, she is not without strength. Screaming, she hits first Adison, then Sembene. The latter is not affected, but Adison reels under the impact. As Vincent steadies Adison, Sembene touches Miss Yves again. She screams again, in agony. Adison does not let up. As soon as she is on her feet again, she is back, catching Miss Yves' head again. Again, she uses violence to escape from Adison's touch. Adison cannot defend herself when she is excercising her priestly skills, so she gets the full load once again. This time, she falls down. Vincent has had enough. 'Can I hold her for you?' he asks. Stunned for a moment, she needs to get her breath back before she can answer: ' I don't know, but I cannot hold her myself, so we'll have to try.'

Within a second, Vincent has Miss Yves in his grip, arms pinned to her sides. She coos at him: 'Oh dear, finally I've got myself where I wanted to be, in your arms. So nice and strong, yes, squeeze me, do. Oh, do me, do me, you know you want to. I'm so much more interesting than the little mouse over there.' Suddenly she tries violence on him too, her possessed strength nearly enough to free herself. Vincents gets a nasty hit on his injured chest, leaving him gasping for breath. Shutting the pain out, it is after all only on the outside, nothing life-threatening, he manages to hold on. Adison suddenly understands. 'Sembene', she calls, 'talk to her, you know her.' And he touches her once again, whispering to her, stroking her as if she is his little daughter. Slowly she quiets down, and Adison can again take hold of her face. 'Mommy!' says the girl's voice lovingly. Adison manages to speak the formula, and kisses Vanessa on her forehead. Then she lets go. Vincent feels Miss Yves slackening, and carries her now limp form to the bed, gently laying her on it. Sembene sits down on the bed, and strokes her hair tenderly. Adison is not feeling very well, she's taken a few hard hits straight in her face, and her head hurts a lot. It doesn't seem to get better, she's getting dizzy and nauseous as well. She moves towards Vincent for some support, but he has been hit pretty hard himself, his chest is bleeding again through his shirt and he looks like he's in pain.

Chapter 19

Victor notices his friends are not looking well, and he decides they will have to go home immediately. 'Can you make it to the carriage, Adison and Vincent?' he asks. Vincent answers, 'I feel like I have been trampled by a bull, but I'm in no danger. But check out Adison please, she looks positively grey.' Victor lends Adison his arm, she seems ready to faint, and she takes it gratefully. 'What is wrong with you, love?' Vincent asks her worriedly. Adison looks bad, with a black eye and a bruise on her cheek, getting darker by the minute. She says: 'I'm having trouble focussing, and I feel nauseous. Head hurts.' Victor says: 'You're concussed Adison, you need rest, but no deep sleep.' And looking at Vincent: 'You cannot watch her, you need sleep more than anything. Neither of you is in any shape to do anything for Miss Yves anymore, I'm bringing you home. If this hasn't worked, there will have to be another time.' So they leave Miss Yves in the care of Sembene and Sir Malcolm, and get a ride home in the coach. Victor and Mina help their friends into their bed, where Victor cleans Vincent's wounds carefully, checking if the stitches have held. They have, but the wounds too small to stitch have opened up again, and the whole left side of his body is bruised. Victor bandages Vincent back up, and then leaves him to take a good sleep. Mina helps Adison out of her clothes, and when Victor is done with Vincent they examine her to rule out internal damage and they check the seriousness of her head trauma. To be on the safe side, Mina decides to stay with her and watch her through the night. 'Victor, will you stay here with Vincent? I have to take Adison to my room, I cannot risk daylight here.' And with that, she lifts the smaller girl easily and takes her to her own bed.

Once there, she installs her in her bed, then fetches a book and a candle. When she returns, Adison is still awake, so Mina sits beside her and strokes her hair softly. 'Can't sleep? Do you miss your man next to you? You can lie close to me, I'm not all muscle, but a woman's softness can be comforting too.' This makes Adison smile, but: 'Actually, I have a raging headache, can I have a painkiller? Or would that be dangerous?' Mina laughs and says: 'I'd say that as long as it doesn't make you sleep unnaturally deeply, you can take one. But you're the doctor here. Do you want me to ask Victor? He's probably still awake.' Adison whispers: 'Yes, please. I don't quite trust my own judgement.' Mina quietly leaves the bed and walks the few doors to Adison's bedroom. There she moves to the side where Victor is trying to fall asleep after his exiting night. She nuzzles him and asks in a low voice: 'Adison wants to know if she can take a painkiller. And if so, where do I find it?' He sits up and says: 'I'll show you, I cannot sleep anyway.' She takes some time to kiss him, then they go into the study to fetch the painkiller. Victor shows her the different kinds, giving her one that only relieves pain, not one that induces sleep. As Mina fetches a glass of water and takes the painkiller to Adison, Victor checks on Vincent's temperature and breathing, then crawls into bed again. Still astounded with what happened in the evening with Mina, he falls asleep.

Adison is still awake when Mina comes back, and she is glad to take the painkiller. Mina settles back on the bed next to her, as Adison asks her: 'Do you love him?' Mildly, Mina replies: 'Shouldn't you go to sleep, you have concussion'. Adison lies back and says: 'I can't sleep yet, head still hurts too much.' 'Yes Adison, I'm very much in love with your friend Victor. I think I have a bad case of love at first sight. As a young girl I hoped to fall desperately in love with the man of my dreams, but I never met him. I was engaged to marry a handsome man once, and I finally married another, but I did not fall in love with either of them until I had known them for some time. And when I got turned I didn't care anymore, the world was my plaything and men were just food or amusement. The last thing I would have expected was to become more or less human again and then fall head over heels in love with the first man I met. My girlhood dream finally came true.' Adison reflects: 'I must have been a very strange girl, for I never dreamed of men at all. All I wanted was to learn as much as I could and then become a doctor.' Here, Mina observes: 'And still you found true love...' Adison seems surprised by this remark: 'I suppose we did. I never saw it that way. We were not looking for that kind of love, it just happened. You might say true love found us.'

On impulse she adds: 'Vincent proposed to me last night. He asked me to become Mrs Vincent Heathcliff. I think he really meant it. About the name I mean, I'm sure he wants me to marry him.' 'And what did you say?' Mina asks, 'to either question?' Adison laughs and says: 'I said yes to both. I love him no matter who he was, or what name he carries. I think it is right to honor his former self, even though apparently he was quite misguided in that life. Some of that was not his own fault. We both realise Vincent might have turned out a lot worse, he has the same passionate, almost wild nature.' Mina says: 'That is hard to believe seeing him now. But he looks happy, complete. Not as if you'd pulled his teeth or quenched his fire. I hope Victor and I will have the chance to be as happy as you are. No chance of children for us though.' Adison confesses: 'I don't think we can have any, either. I suppose after his resurrection, Vincent may very well be sterile. I didn't risk it yet though, with things as they were I preferred to use certain herbs.' Mina gives her a hug, and says: 'Thanks for the girl talk, I've missed that. If your head feels better, you should get some sleep. I'll watch over you, you'll be fine. I'll check on your intended too.' And the last thought Adison has, before she falls into a dreamless sleep: so that was girltalk.

The next morning, maybe even early afternoon, Victor wakes face to face with Vincent. After the first astonishment, he remembers the night before, and takes a good look at him from his doctor's point of view. His friend looks peaceful, no signs of a restless night, and his colour is normal for him. No visual signs of fever or pain. He doesn't want to touch the other man to feel his temperature, that might wake him up from his sleep, the thing he needs most of all. So he slowly and carefully moves away from Vincent, ready to get dressed and check on Mina and Adison. But his movement triggers a reaction. A strong arm reaches out to him, and pulls him close. Since Vincent is probably still half asleep, and used to sleeping with someone, Victor guesses he is looking for some physical contact with his girl. This is quite embarrassing, he cannot struggle, but he can hardly let Vincent believe he is Adison. Who knows what might happen! Meanwhile, Vincent has snuggled up really close to him, taking in his scent, nuzzling his skin. And still, Victor doesn't know what to do. He doesn't want to wake him up, but there is no way he is getting out of this grip without using force, or being released.

Vincent clearly doesn't appreciate his restlessness, he murmurs sleepily: 'What's the matter Victor, can't a guy have a little cuddle with you anymore now you've a girl of your own?' Stunned, Victor indeed lies still: Vincent knew it was him all the time! 'That's better,' the voice says, arm still holding him firmly to his chest, mouth and nose still exploring his throat and neck. 'Hmm, you smell very nice, very masculine, I'd like a bite of you myself.' Victor knows he can't escape that arm, and trying would hurt Vincent's chest again, so he gives up and decides to enjoy the attentions instead. Turning around, he faces his friend and sometimes lover again. He says: 'I did offer her my bared throat last night, and she accepted. It was the best dinner I even attended, even if I was the main course.' Vincent takes the offered bait, he definately is still sleepy: 'Only the main course, not the only one? Did you get something to eat then?' 'Oh yes, I got something for starters and a lovely dessert too, ' he says knowingly. Finally Vincent's awake: 'You naughty doctor, you! She's hardly escaped the clutches of an evil mastermind, and she falls into the hands of a mad scientist!' Victor sighs: 'I'm afraid I've fallen as hard as she has, dear friend.' In answer, Vincent gives him a hearty kiss and releases him. 'I'd better let you go check on her then, and on my poor girl too. I congratulate you, you've an excellent taste in women. And I bet you taste excellently yourself.' Victor laughs: 'She did mention that, yes.' Victor says: 'Go check on our ladies, I'll follow shortly.' And Victor leaves, but: 'You stay here, I'll be back with doctor's stuff. I'm taking care of those wounds today, Adison is on forced leave. And seeing the sense in that, Vincent turns around and tries to get some more sleep.

In Mina's room, Adison still sleeps in Mina's bed. Victor checks her vitals, and she seems fine, though she looks as if she has been in a bar brawl, black and blue all-over. Mina is in her comatose state on the pallet. Watching her for a while, Victor gets that sense of belonging again. He knows it will not wake her, so he allows himself to stroke her hair, and caress her face. It will be a long wait until sundown, but at least everything is out in the open, he will not have to hide his feelings any longer. The thought of his love being returned still amazes his. Such a beautiful woman, in love with him. Quietly he leaves the room for now, gets his bag, clean bandages and a basin of hot water, and heads to Vincent and Adison's room. When he comes in, he finds Vincent asleep once again.

He doesn't feel like sleeping anymore, so he piles coal into the boiler to get a hot bath ready for his friends, and steps out to do some shopping. Rich food for himself, he feels hungry all the time and his usual food just doesn't seem to satisfy him. And some things for Mina, everything a girl needs plus a really nice dressy gown. She'll probably want to go out now her cover is blown anyway, and he wants to show her he has a good eye for fashion. He decides to go for deep blue for now, she'll have to get measured for a really beautiful dress, but that will take some arranging. This will have to do for now.

When he returns he puts Mina's things in her room, for her to find when she wakes up. Adison is no longer in Mina's bed. Leaving the food in the kitchen, he checks on the boiler and feeds it some more coal. Then he puts a kettle on the kitchen fire and returns to Vincent's room, where he finds Adison in her usual spot. She's awake, but enjoying being lazy. 'How do you feel?' he asks her. She replies in a whisper: 'Not quite well, but much better than yesterday. That was quite a thrashing I got. How's Vincent, has he been awake at all?' Victor smiles at her and says: 'I'd say he was awake! He pulled me in towards him, and I felt embarrassed because I thought he thought I was you. Turns out he knew it was me all the time, he was having me on. We cuddled some, then had some real man's talk.' This makes Adison smile even more. If Vincent can make jokes that must be a good sign. She says: 'I had my first ever girl's talk yesterday with Mina. You think that is a coïncidence?' Victor snorts: 'Since I've met you guys, I don't believe in coïncidences anymore. Though if you look at it objectively, most of the weird goings on have been more or less my doing. Anyway, I kind of liked it, man's talk.' 'I liked the girl's variety too, says Adison,' they'll be making real humans out of us yet, and that with them being the 'unnaturals'. Do you want children?' Victor thinks about that question for a few moments, and says: 'I never did, but just as I can imagine having them, I'll have to accept I never will.' Adison nods: 'Same here, somehow I don't think we'll be able to have any, but it was never an issue before.'

They are silent for a while, then Vincent stirs and Victor leaves to get some hot water for cleaning the wounds. He orders Adison to stay in bed and take it slow the entire day, so she moves over until she's in Vincent's arms. That wakes him a little, and he really enjoys having her near. Suddenly he wakes a lot more. 'Dearest, are you okay?' he asks. She looks at him and tells him honestly: 'I've been better, but I could have been worse.' Her face is black and blue, and the sight of it touches him deeply. She got this from wanting to help someone at all cost, how far will she go? She really needs him to protect her, from herself first of all! 'Can you lie on top of me?' he asks. Her answer is very clear: 'I can and I want to, but I won't. Doctor's orders. You'll never heal unless you take care of yourself a little better.' 'Then at least lie as close to me as you are allowed to by the doctor. Cuddle me a bit, please? I had to restrain Victor this morning to get a little love out of him. You'll give yours freely, won't you?' She teases him, straddling him and unbuttoning his shirt. 'I will, but first, the doctor will take care of your wounds. I am not allowed to do any work today due to my injuries.' And right at that moment Victor comes in with a new basin of hot water. With a look, he sends Adison back into bed. Then he removes the bandages and sets to work under her watchful eye.

Adison is impressed by Victor's work. He has learned cleaning wounds thoroughly but carefully so well, that Vincent doesn't show discomfort even once. 'It is very clear you don't object to getting damaged physically,' observes Victor, 'you've added a nice set of bruises to the claw wounds. How do you feel?' "Honestly?' Vincent says, 'I still feel like a bull trampled me, only now I'm fully awake so it hurts a lot more. As long as I lie still there is no problem, and the wounds are much better, even the small ones. But I'm stiffer than a board. That scrawny woman has some strength in her.' Victor looks at Vincent seriously and asks:' Will you be able to play tonight?' Vincent answers: 'If I weren't so stiff, no problem, but as it is I'd move like one of the corpses you like to spend your days with.' Victor finishes with the bandages, and states to the two lovers: 'You can kiss to heart's content, but no hanky panky! I'm firing up the boiler for a good hot bath. It'll do both of you good. Food will be on the table in half an hour.' And with that, he leaves the room.


	9. Chapter 9

Chapter 20

Before they sit down to a good meal, Vincent walks around a little and does some stretches. Adison takes a comfortable chair and is bored. She cannot read, and moving around hurts her head, so she watches Victor bustle in the kitchen, and Vincent doing his stretching exercises. 'After breakfast and the bath, you're back to bed', Victor tells her, and she knows he is right. Better take few days rest and get bored, than neglect the concussion and suffer dizziness and headaches for months. 'And I've sent a boy to Bruce already, to come and get you for the play, Vincent. I'm afraid you're on your own, I have patients tonight. If we neglect them any longer, they'll move to another practice. They can make do without Adison for a week or so', Victor says. Vincent answers: 'Thanks Victor, I will be perfectly fine with Bruce and my friends in the theatre. I hope Mina will not mind staying with Adison.'

'She won't', a voice sounds from the entrance. Mina is standing in the doorway, looking stunning in the new blue dress. Victor is speechless and frozen to the ground. He looks so like a love-struck boy, the change with the bossy doctor a few moments ago so profound, that she feels the compliment to her beauty more than words could ever express, even if they were written by the greatest poet. He is irresistable, and Mina wants to greet her lover after a night of separation, but she can't go into the kitchen: the sun's still up and the kitchen is too light. They stand there, staring at eachother with longing, until Adison realises it isn't dark yet, and asks Vincent: 'Would you close the curtains, Vincent? Mina seems to have awoken a bit early.' He quickly does, and the new lovers approach eachother as if drawn by a magnet. Finally, Victor seems to have found his voice back: 'I knew you were beautiful, and I knew you'd look great in that dress, but this...'The rest of what he is planning to say is cut off by a passionate kiss. For a moment, the rest of the world disappears. Vincent and Adison concentrate on the food to give the young lovers a bit of privacy, but the smell of food distracts Victor immensely, and Mina soon breaks off the kiss to say: ' Your body wants the food. Better listen to it, I'll watch, I like seeing people eat, I used to love solid food.' Victor is already eating away, choosing the rich stuff they never used to have at their table. Between bites he asks: 'Do you want to feed when I'm done?' Mina says: 'I can wait until you return tonight, you'll need your energy for your patients and it is easier to replenish blood when you're resting. I still feel your energy in me very clearly, I'm constantly aware of you. Tonight will be soon enough.' Victor is fine with that, it'd be indecent anyway to do it in the kitchen, even once Adison and Vincent have retired to their bath.

When dark finally arrives, they have all had a nice hot bath, and Vincent is feeling invigorated once again. The hot water has brought great relief to his physical inconvenience, he feels quite ready for the theatre. But it has made Adison very sleepy once again, so she retires to her bed immediately after. Sleep will be her best cure. As Vincent dresses to go out, not forgetting some weaponry, Victor also dresses as befits a succesful doctor and checks his supplies. He doesn't forget his gun and his hidden blade either. He will do his rounds when his patients most likely have finished dinner. But soon after dark, and before dinner, there is a knock at the door. Thinking Bruce is come early to return or pick up some books, Vincent opens the door without checking who is behind it first. He is startled and a bit alarmed to see Miss Yves standing there, carefully groomed and dressed. Needless to say the difference in her looks as compared to yesterday is acute. Seeing Sembene behind her, he realises their intervention yesterday must have been successful. Vincent is still silently berating himself for his carelessness, when she takes his hand and says: 'Dear Mr Smith, I cannot thank Miss Adison and yourself enough for what you have done for me and for Mina. I want to thank you personally and see Mina if at all possible. I hope this isn't an inconvenient time?' Looking at her hand on his, she quickly withdraws it, looking guilty. Vincent feels no different for her touch, maybe it was the entity possessing her that caused the flashes of memory. He says: 'Don't worry Miss Yves, apparently your touch no longer has power over me, it's safe to touch me again. Follow me, and see if Mina is willing to meet you.'

He lets the two wait in the hall, and goes to the kitchen, where she and Victor are sterilising medical equipment. Vincent announces Miss Yves: 'Mina, Miss Yves is here to see you, will you receive her?' Apparently it is well that he has left them in the hall for a while, for Mina's reaction is unexpected. With her concern over her friend yesterday, one would say Mina would be happy to see her now, but instead she starts to cry silently, gladly holding on to Victor when he offers support. Vincent discreetly says: 'I'll show them to the front room, so you can compose yourself and then decide if you want to see her.' And he leaves the kitchen, taking their visitors to the front room, and inviting them to wait there for a few minutes.

Miss Yves shows some distress: 'Doesn't she want to see me? I was so nasty to her yesterday, but that wasn't me, I hope she understands that.' There does not seem to be much left of the saucy Miss Yves, her acute observations, her comments bordering the uncivil, they seem to have been lost in last night's episode. Were they 'the devil in her'? Vincent tries to put her at easer: 'This need not be personal Miss Yves. Mina has been through a lot the last few days, she nearly died of a bullet wound her own father gave her. And though being freed from an evil master may seem a happy occasion, she has only now started to realise what she has done, and what she has lost. She will never be human again like you and even me ' Miss Yves perks up a little at this hint of his past, finally showing some sign of her usual zest. 'Has she told you how I drove her to the dark side, how my actions caused this tragedy?' Miss Yves asks. Vincent replies quietly: 'No, she did not. We have been busy with practical matters mostly, how to free you of the enemy's dominion mainly. Her help was invaluable.' This last remark has apparently taken her thoughts back to yesterday, for suddenly she seems to realise Adison is nowhere in sight. She exclaims: 'And where is Miss Adison? I was so hoping to tell her in person that after yesterday I am totally free of what was riding me, and I wanted to thank her for freeing me and apologise for any hurts I caused her. I hurt her badly, didn't I?'

Somehow, Vincent still doesn't like Miss Yves very much, and he does love Adison to distraction, so he says bluntly: 'Yes, Adison is hurt quite badly. She is concussed and her face is black and blue. She was only up to eating something, then went straight back to bed. She'll be fine, but it will take a few weeks for her to totally recover.' Any further reproaches Miss Yves might make herself are cut short by Mina's entrance in the room. She goes straight to Miss Yves, and hugs her closely. 'I'm so glad to be back, and to have you back, Vanessa,' she says, 'how are you?' 'I'm totally fine, except I feel so guilty about what I put you through,' Miss Yves says. Mina, now totally composed, replies: 'You cost me a good many things, Vanessa, but it was not all your fault that the enemy wanted you so badly that I became valuable as bait. And his way to control is seduction, I let myself be seduced as well as you did. I paid a steep price, and many innocents suffered because of me, but for me at least there is some compensation.' She doesn't mention what the compensation is, but right at that moment the doctor enters the room, and the look of infatuation the two exchange wordlessly speaks volumes. Victor kisses her and says: 'I'm off on my rounds, I'll be an hour or two. See you tonight!' Then he leaves again, carrying his doctor's bag and a walking cane. Weird, for such a young man.

Vincent, after a questioning look at Mina and an affirmative look for an answer, leaves the little group to renew their friendship, and heads to his bedroom to check on his beloved. She is sleeping quietly, her chest rising and falling all the movement he can see in her. His feelings surge as he recalls their year together, from the wordless love he felt for her when he was totally dependent on her just after his birth, via their easy comeradeship when he was sort of in his teens, to the moment he became a man and fell helplessly in love with her. He has always trusted her totally, never doubting any of her decisons or actions. It is totally clear that no matter how high the price to herself, she did save Miss Yves from damnation as much as she saved himself, Victor and Mina and who knows how many others yet to come. He may be leading a strange life, again, but this utterly normal looking girl will make it worth his while. Risking waking her up, his need to kiss her just once more before he leaves her for a few hours is too strong to resist. He takes one of her hands, and kisses her tenderly on her forehead, resting his cheek to hers for a short while. She wakes up for a moment, smiles at him, then goes back to sleep without saying anything.

He quietly leaves the room, and readies himself to go to work once more, Bruce and Maud will be here any moment now. He steps into the front room for a moment to take his leave, and when he hears the familiar knock he meets with his colleagues and they are off to the theatre.

In the front room, Vanessa has told Mina how their falling out affected her, driving her into near insanity. It confirms Mina's opinion, that Vanessa is just not put on this world to do nothing. It led her into mischief with Mina's intended, and caused her to totally let go of her life afterwards. She clearly needs something to occupy her mind and body. They talk for an hour, and after that Mina tells Vanessa again that she is forgiven, that she acknowledges her own share of blame in what happened . The painful part of their reunion over, Vanessa is very curious about, well, everything. 'Are you really in love with that arrogant young doctor?' she asks Mina. 'Arrogant?' Mina asks, 'arrogant?' Vanessa says: 'Yes, arrogant. He clearly thinks he's the best scientist ever.' Mina laughs: 'Oh, but he probably is. He's conquered death, you know.' Vanessa is not impressed: 'Yes, I've heard about Mrs Gould. But that is what doctors do, and anyway, her family says that was mostly Miss Adison's work anyway.' Mina decides not to explain, instead telling her friend: 'Victor is the shyest man I've ever met, I had the hardest time getting him to even look at me directly. But once he got over that, best lover ever! Even thinking of him tugs my heart. I miss him. That reminds me, please wait for a moment while I check on Adison.'

Mina heads down the hall and quietly enters her bedroom. Adison is restless, and Mina sits down next to her and gently strokes her hair. Her poor face looks battered and very painful. Adison has given so much, and now she is suffering for it. Well, Mina is going to do everything in her power to help her recover. She feels uncomfortable leaving her unattended, so she returns to the front room and tells her friends she needs to sit with her patient. They'll see eachother regularly now that the first awkwardness is over. Vanessa and Sembene take their leave, and soon Mina is sitting on Adison's bed with a candle and a good book. It will not be long before Victor and Vincent return, and when Vincent watches over his own girl again, the night will get interesting for Mina.

Chapter 21

Meanwhile, Victor has completed his rounds, their patients worried about Adison's absence but happy with the visit anyway. He feels satisfied, and decides to step by the theatre to see if he can pick up his friends there to return home together. Thinking of the coming night, he is slightly distracted from his surroundings, a common occurance in people madly in love. But dangerous too, for as he steps into the alley where the stage door of the theater is, he finds himself beset by a large group of ruffians, apparently led by Simon, the former lead actor of the company. Curiously detached from the danger of the situation, he realises that the dangerous situations he has found himself in lately have apparently gotten him used to letting his training take over in moments like these. His body takes a defensive stance, and his eyes note that none of his adversaries seem to have a gun. No blades either, a poor lot apparently. Still there are ten of them, so even with clubs they'll get him in the end. In the meantime, his body has taken hold of the gun, and points it at Simon, clearly the instigator. 'Gentlemen, I have no quarrel with any of you, and I am pointing a loaded gun at your leader. I'm an expert marksman, so please be smart and disperse,' he says, convinced they will not risk being the one who gets shot.

But he is wrong. Simon is eaten up by hatred of anyone connected to Vincent, and he clearly does not realise or doesn't care about the danger the gun represents. He sneers: 'Guys, did any of you understand a word he just said?' The men grumble a negation. 'I didn't either, so I guess we can't do it then.' And with that, he rushes Victor with five other guys. Feeling some fear now, and seeing no other way, Victor fires the gun at the approaching group. Simon falls, and before they are on him he has time to fire again. Another man falls. This slows the men down enough for him to shake his blade loose, still keeping the gun aimed at the group. Another shot hits another man, his aim true a third time in a row. But now they are getting too close, he needs to keep them at arm's length. Therefore he switches weapons, using his blade to wound several of his assailants. But the other men are now approaching him too, and he will soon be overwhelmed. Thinking of Mina with regrets, he prepares to fight for what he is worth. Someone may yet come through the stage door and save his hide. Firing another shot at random in the large mass of men, he can keep one side protected with his blade, injuring several men. But on his undefended side he gets hit several times and he loses his gun, staggering under the force of the blows. He lays about him with his blade to that side, getting the satisisfaction of feeling the blade strike flesh. It cannot last, though, there are too many of them, and they are getting hits in regularly now, to his arms and body, but to his head as well.

Weakening, his thoughts are on Mina again, hearing her clearly in his mind: 'Hold on my dear, only five left!' That is a weird thing to dream at the moment of your death. 'Fly, or be killed', he hears her voice, even louder. He realises he is not dreaming it, she really is there, in front of him, warning the assailants off. It works, for they are no longer beating on him, but it doesn't work, for they are not planning to obey a girl. 'Get lost girl, or we'll give you a good time after we're through with him,' a rough voice says. What happens next, is one of the most beautiful and at the same time most gruesome things he has ever beheld. His gorgeous and sweet girl, still in her lovely blue gown, seems to fly towards him, and every man in her way explodes in a shower of blood. She is so fast that his eyes cannot keep track of her, and every time she slows, someone dies, messily. The men closest to him try to flee, but there is no escaping their fate. In a few seconds, Mina has him in her arms, cradling him to her chest, gown spattered with blood but without a rent or a tear. He lets go of his weapon, giving himself up to her protection and losing consciousness.

A burning sensation in his mouth wakes him up sputtering. A vile tasting, immensely strong liquor is setting his mouth and throat on fire. 'You see, I did get him to wake up', an older voice says. Victor recognises it as the director of the theatre. 'That vile stuff would raise up the dead,' another voice retorts, 'it's not meant for living beings.' It's Vincent, thank God! Awakening further, indeed with help of the abject fluid in his mouth, he realises he is not on the floor, but in someone's arms, being kissed and held tightly. He seems to be covered with something warm, it feels like wool. A female voice really close to his ears whispers: 'Are you all right, love? I thought I'd lost you.' His mind needs a moment longer to process the voice. Mina! She rescued him, by flying through his assailants. What did she do, and how did she know he was in danger? It doesn't matter to him, he's safe with her. Moving his head hurts a lot, but he does his best to look at her and whispers: 'You saved me.' She holds him even tighter, his face resting comfortably against her chest, and he gives himself up to her safe haven once again. He'd swear he hears her say: 'Gimme some of that stuff, it can't be worse than the filthy bouquet of petty criminal's blood I have in my mouth.' That is not the kind of language Mina uses! Still, he hears her gurgle, and spit something out, it must be her. That's curious, but feeling warm and protected, he's going to sleep a little. 'Victor, don't go to sleep my love,' Mina urges him. 'Wake up, you have to tell me what to do, you're the doctor.' He doesn't want to wake up, he's so nice and warm between the thick wool, a coat probably, and her cushy body. He's never felt so safe in his life.

Another face comes into view, he didn't think Vincent could be any whiter but he is, and his eyes are very yellow and very gripping: 'Victor, wake up, we're afraid you won't wake up if you fall asleep now.' That is nonsense, he doesn't feel that bad. Does he? He checks his body by analysing how each part feels. His legs are fine, his stomach hurts, his back and shoulders hurt. No breaks as far as he can tell. His arms hurt a lot, they must be covered in bruises and cuts. His head, yes, that feels really bad. 'It's the head, ' he whispers, 'head is worst. Back, front, sides, all hurts. Can we go home?' 'Yes my love, we can,' Mina tells him. Her face is covered in blood below her well-shaped nose. Her eyes are as loving as ever. He wants her to kiss him, but moving towards her is too much for him. She sees his attempt, and warns him: 'I'd love to kiss you too, but I've at least five different types of blood in my face, and I used that vile stuff to get the taste out of my mouth. It might make you sick.' He wants to chance it, it will wake him up properly, he agrees now that he should not give in to his sleepiness until Adison has seen him. She understands at a glance, and gives him a long, ardent kiss. She does indeed taste of the vile liquor, but he tastes no blood on her tongue. Afterwards, he feels better. 'Can I have some more of that vile stuff? It helps,' he says. Someone holds a narrow vial of liquid before him, and Mina helps him to drink some of it. It is still gross, but it wakes him up further.

Now he manages to look around him a little, though it is extremely painful, and he sees the director and Bruce loading the bodies, a lot of bodies, on a hand drawn cart with the help of the stagerats. They pull a canvas over it, and a Chinese man wheels it away. He'll probably find some of them on his cutting table in a few days. Somehow, that thought pleases him. Then Mina lifts him and carries him all the way home. She is very strong, and lightning fast. That is quite interesting. Soon they are at their door, and Adison opens it. He says: 'Adison, you should be in bed!' She smiles at him indulgently, but her face looks worried, and she says mildly: 'As soon as I have examined you, I will join you in bed, dear Victor.' Mina takes him to the fourposter, and he hears himself protesting faintly: 'But I want to be with you, Mina!' She lays him down gently, and calms him: 'I will be with you love, but I want Adison close too. With her injuries we cannot expect her to come and check on you in my room, so you'll have to be in her room. Don't worry, we'll cover the window.' She takes his hand gently, and addresses Adison: 'Can you examine him now, and tell me how to deal with the wounds?' Vincent's voice breaks in here: 'I've seen her do it so often, I can show you on his wounds, then you can practice on mine. It's not difficult, just tedious , are you hungry?' Despite the pain, he is, and he says so. This seems to cheer everyone up quite a bit.

Adison has Mina undress him, then looks him over carefully. He has some pretty bad cuts, some of which need stitches, but the most dangerous damage is to his head, like her own. He has similar bruising in his face, and he can feel he has also been hit on the back of the head. Like in Adison's case, the bruises start to darken, and his headache worsens. He is not nauseous, but he does feel fuzzy in his head and he was out for a few minutes. After the examination, Adison lies back on the bed, leaving getting boiled water from te kitchen and medical supplies from their study to Vincent and Mina. The suturing will be tiring, but she cannot leave that to either of the others, so she takes a little rest before she has to focus again. She does hold Victor's hand, squeezing him now and then to keep him from falling asleep. Mina is back soon with a rich soup for both of them. Vincent follows later with hot water, cleaning supplies and his own supper. He shows Mina how to carefully clean out each wound, noting which ones he guesses will need stitching. There are three rather large ones, which he leaves open, the rest he bandages quite adequately. Adison has finished her soup, and with a needle Vincent has threaded she neatly closes up the deeper cuts. 'You cleaned them well, and those three are the ones I had chosen to suture. Good judgement.' After that, she lies back on the bed and promptly falls asleep. Mina bandages the sutured wounds under Vincent's direction, and then Victor is offered the same painkiller Adison got the day before. He is soon asleep as well, Mina will wake him once in a while to keep him from sleeping too deeply. Then, Vincent lays down on the bed to let Mina take care of the clawmarks. Under his direction she quickly learns, and soon he is ready for his supper as well, feeling much better than yesterday and this morning.

'So, just us two left. What happened?' he asks. Mina says: 'I had taken leave of my visitors to sit with Adison, and I was reading away nicely at precisely this spot. Adison was sleeping quietly, and as she had slept a lot already I expected her to wake soon for some dinner. Then I felt Victor become alert, as if facing danger. I woke up Adison, warning her I might be off for a while to check on him. Then I felt his alertness change to fear, and I did run off. Somehow I knew just where he was, and that he was in grave danger. Vampires can move like lightning, and I was with him in seconds, warned the filth assailing him to leave him alone, and when they didn't, I made my way to him straight through literally through them. My self control was gone, and I ripped out their throats and shattered their bodies. I'm very strong as well as quick. When I came back to myself, I was holding him in my arms, unconscious, and I was afraid he'd die on me. So I knocked on the stage door, and you know the rest. I'm still afraid he'll die on me, you humans are so frail.' Looking at Vincent, she corrects: 'Well not you, but the rest.' Still looking at him she asks: 'Will you hold me for a while? I'm still shaking.' He takes her in his arms, and she says: 'I have just found him, I don't want to lose him.' Vincent tells her: 'He's tougher than he looks. How many did he get before you arrived? From the wounds on the bodies I'd say at least four or five. Amazing for just one guy, isn't it?' Mina confesses: 'I don't really know. I was so mad I didn't see much. I hate it that I lost control, murdered those men in a rage. I thought I was a better person now, but apparently I'm still a mindless killer.' He can imagine how she feels, having been there himself.

Still holding Mina, Vincent says: 'You know who I was, you can imagine I have a dark side too. Some months ago we were attacked and I lost control and killed as ruthlessly as you just did. But Adison showed me that that side was just as much part of me as my normal self, and when I learned to accept it instead of separating myself from it, I got control over it. It became part of me. With Victor at your side you will be able to do the same. You are not a monster, you gave them a chance to get away, you protected your love who was helpless at that time. You'll manage, don't worry.' Mina has heard from Adison of Vincent's violent side, and she says: 'Thank you so much for supporting me, it is good to hear from someone with the same problem that it can be fixed. Will you please tell me more of how you did that when everything is normal again? Now I think you need to sleep too, I'll keep watch on Victor. Where do you keep the hammer and the nails? I want to nail the curtains shut before dawn tomorrow.' Vincents shows her, then he crawls into the bed besides the sleeping form of Adison. There is enough space in the bed for Mina to sit down and read a little, and even to sleep when dawn comes. With both the doctors handicapped, it is very handy to have such a large bed in the house. 'What will you do for food?' Vincent remarks from where he is lying, 'Victor may not be able to donate for a few days.' Mina says: 'That may become a problem, but not before tomorrow evening. You sleep, and we'll think of something when I wake up.'

With all three of her friends asleep, Mina has plenty of time to think about what she did, and what Vincent told her. She finds it hard to imagine the mild mannered Vincent losing control and killing in cold blood, but having known Heathcliff personally, she can picture it easily enough. Thinking of the way she lived as a vampire in the service of evil, she knows violence is as much a part of herself as it was of him. And if he was able to take control of it, she will be too. Not willing to spend more time berating herself in the deep of the night, she decides to do something useful instead. First, she lies down next to Victor, following his breathing, feeling his temperature. It is virtually impossible for her to feel it accurately, for with her lower body-temperature every human feels hot to her touch. But she has her sense of smell to help her judge if he is starting to get feverish: he smells the same as usual, with a slight overtone of disinfectant, the bitter smell of the painkiller and even a trace of the vile liquor. She can smell no signs of infection in the wounds and no excessive sweating. Time to find something to do.

So she silently heads to the library and gets some writing materials. Then she starts to write down the story of her life as a vampire. It will help her get a grip on the things she has done, help her cope and try to make reparations. And it will be a very exciting story to read. When the birds outside start making noises, she nestles herself against her love, who is smiling in his sleep. Seeing him totally at peace after nearly losing him last night, she realises she is setting herself up for certain heartbreak, falling in love with a mortal. But what can she do, except enjoy every minute they have together?

Chapter 22

The next morning, Vincent awakes with a new memory of his past life. In his dream, it was a moonless night on the moors. The wind was howling around the rough stone house, and he was in the stables, cold in his ragged servant's clothing. Loneliness and humiliation were making him feel colder still, but a tiny spark of anger always kept him from giving up. He was waiting for something, no, for someone. Cathy. This was the night of their elopement, and they were going to steal Catherine's brother Hindley's big black horse. The horse was ready, Heathcliff didn't own anything, so no need to pack. But where was Cathy? Did she change her mind, to marry into wealth and comfort after all? Linton loved her no doubt, as a puppy loved his owner, basking in the lovely fuzzy warmth of affection, never realising all the love was coming from himself. Heathcliff was certain that all Cathy felt for Linton was a deep disdain for his servile love of her. She did agree to elope after all, into an unknown future with not a dime between them. He convinced her he would be able to take care of her in the city, building a future in which they could always be together in freedom and love. And that future was to start now, with both of them flying from Wuthering Heights in the middle of the night, on the fastest horse in its stable.

Suddenly the stable door opened, and there she was, hunched in the doorway, her slight frame covered with a large thick coat, her face covered with a woolen shawl. She had two big bundles with her, on of which she dropped right in front of him. Then she threw herself at him and kissed him deeply. 'What took you so long?' he asked. She nudged at the bundle at his feet, saying: 'I got you some decent clothes from my brother, they'll be too large but they'll be warm. Open it.' He quickly opened the bundle, uncovering woolen onderwear and trousers without holes. Socks and boots, and even a clean shirt. Best of all, a black woolen coat, as long and as thick as Cathy's. 'You took an enormous risk,' he said, 'but thank you, I'll finally be warm in this, but decent clothes will also help getting a job. Let's make haste.' And they did, whilst he dressed in the nearly new clothing, Cathy fastened the other bundle on the horse. They led it out of the stable and out of the yard, unlocking the gate with the key Cathy had also stolen. Then Heathcliff helped Cathy on the large horse, and got up behind her. Without looking back they got on the road, making great haste to disappear in the crowds of the city before her brother could mount any search for her.

Despite the lively memory, which confirms exactly what Mina told them, Vincent feels much better than he has for days. Though his mind was busy, his body had a night of unbroken sleep, which was probably all it needed to heal itself. He looks at Adison, fast asleep and looking a bit better already. She is still bruised, but not as vividly as yesterday. He cannot help touching her tenderly, dreaming of a life with another woman and feeling love towards her is quite disconcerting, and he feels a need to get in touch with reality. Adison wakes enough to snuggle up to him, and he enjoys their closeness for some time. Then he turns around to see how Victor is doing, noting that his face looks as bad as Adison's did yesterday. His sleep is restless, he seems in pain. Small wonder, after such a beating. He feels slightly guilty for being the one Simon was really after, but in fact, neither of them took the foppish lead player seriously after having fought against vampires and demon-like creatures. But though Victor's opponents were bad fighters, there were so many of them they could easily have killed him. Vincent is glad Adison took Mina with them that night on the ship, or their friend might now be dead. He decides to get Victor a painkiller and see if he wants to eat something, so he dresses and heads to the kitchen to put on the kettle for their morning tea.

Fetching the right painkiller from the study, he takes it to Victor with some water. Waking him carefully, he offers his sleepy friend the medicin. Victor is glad to take it, his sleep was troubled by a raging headache, and he has pain in numerous other places. He seems a bit disoriented as well: 'I was attacked, wasn't I? I thought I was going to die, then Mina showed up and saved me. You were there too.' Vincent wants to stroke his poor face, but there is hardly any spot that is not blue, so he holds his hand instead. He says: 'I came when Mina warned us you were not doing so well. Remember the director gave you that dogpiss booze of his?' Victor smiles and says: 'It did taste awful, but there is something in that stuff. It woke me up.' 'That stuff will wake up a corpse,' Vincent says, 'maybe even better than you did.' Then he asks: 'Do you feel like some breakfast in bed? It is better if you eat something.' Alarmed, Victor says: 'I have to eat well to feed Mina. But I can't, can I? I feel weak, I must have lost a lot of blood. What can I do, she'll starve!' Vincent says calmingly: 'Don't worry so much, we will not let her starve. She can have some of mine, I'm back to my usual strong self. From a bowl if you are worried I'll ravish her,' Vincent says laughingly, as Victor's face shows a tinge of jealousy at his offer. 'You don't want her to have to eat rats, do you?' Victor looks a bit ashamed of his reaction, and says: 'I do feel hungry, and I want you to check on the wounds. Adison does it at least twice a day, and it works. I want to be back at work as soon as possible.'

It turns out to be a lazy day after all. Adison wakes up too to have a bite to eat and check Vincent's chest, declaring the wounds healed. He'll have some more scars to show for it though. She decides to supervise Vincent's work on Victor as well, and then the patients are both off to sleep again. There is not even time to tell her about the dream, but that'll keep until she's better. Vincent checks out all the curtains in the whole house to see if they keep out the sunlight. Suppose Mina wakes up early again, it will be nice for her to be able to move around the house safely. After that, he picks up a book, and reads until late afternoon, when he feeds his human patients again. Soon after that, Mina awakens, again at least an hour before sundown. Because the whole house is already dark with curtains, she can go wherever it pleases her. She is happy to hear that Victor, though in pain, has eaten and that his wounds are healing well. Something does seem to bother her, and when Vincent asks she admits: 'You were right you know, I do need to eat today or I'll start to weaken.' Vincent laughs, describes Victor's worries, and repeats his offer to Mina: 'I can spare you some of my blood, I feel fine today, though I promised Victor I'd give it to you in a bowl to prevent all chances of my ravaging you.' Mina is touched by Victor's consideration, but: 'Somehow using a bowl doesn't work, it needs to be straight from the vein. But if I bite your wrist here at the kitchen table, it'll do little to exite either of us. The thought of you ravaging anyone tickles me, though I suppose Victor knows best.' 'Oh, Victor has personal experience with the time that I used to be quite an exitable fellow, but I'm wiser now,' Vincent says,' let's get on with it, so I can tell you about the dream I had tonight. I think it is another memory of my former life, for it describes a scene you told us about.'

That sounds really interesting to Mina, so she quickly sits down on the opposite side of the kitchen table, and Vincent matter-of-factly hands over his arm. She shows him the canines, not getting a reaction of fear out of him either. He trusts her, of course, after saving his friend's life he'd give her more than just a few mouthfulls of blood. This time she doesn't strike, but just bites as if she was still eating solid stuff. But when the first taste of his blood hits her mouth, she nearly staggers: that is potent stuff! Vincent of course feels the fangs enter his flesh, and then he feels the suction. Even at the kitchen table, that is one powerful stimulant! He sees and feels Mina reel with her first taste of his blood, suddenly worried that something is wrong with it. What if it is poisoned, he had forgotten about the chemicals Victor used to resurrect him. But she doesn't look or feel bad, if anything, she is suddenly sucking with a lot more force and she looks, well, elated. Seeing him watching her, she lets her feeling leak to him, projecting just a little bit. He feels a really strong taste in his mouth, metallic but with something extra, an almost burning sensation. And he feels pure strength flowing through her, making her feel incredibly good, almost invincible.

Mina is not feeling lust at all, this is totally different and very heady. Vincent's blood is not as sweet as other humans', it is more like a potent brew: bitter and fiery, but once you get used to the taste and the burn, it gives you a feeling of strength. It is even more difficult than usual to break off, she has only just grown used to the taste, and now she wants more of the heady stuff, but she forces herself to release her bite, then licks the puncture marks like she did with Victor. Only this time it is not to heighten lust, or even to prevent her donor from bleeding. No, she wants even those tiny drops, it would be such a terrible waste to let them fall, or be absorbed by a sleeve or a cloth. Suddenly aware of Vincent looking at her amusedly, she lets go of his arm, still very much aware of the burning taste on her tongue and the liquid fire in her system. For a moment they sit in silence, she's still trying to get a hold on what she just drank, he's waiting for her to say something.

The first thing she is able to say is: 'Wow.' Then after another silence: 'That was incredible. Your blood is so strong it burns! I no longer wonder how you can abuse your body so and never get infected. Nothing could survive in that hot flow. I feel on top of the world! That was great, thank you so much. Are you all right? Not dizzy or anything? It was hard to let go, I hope I didn't take too much.' Vincent says: 'I'm just glad my blood didn't harm you, for a moment there I thought I'd poisoned you. It's really interesting that my blood is different. I know of course that I'm stronger and more durable than other humans, and now we know it's in my blood.' 'But keep that a secret', she tells him seriously, 'or vampires will hunt you down, abduct you, then slowly drain you to death for the kick. We must share this only with Victor and Adison.'

After this, Vincent tells her about the scene from his past he relived in his dream: 'It was the moment we were eloping from Wuthering Heights, the house that belonged to Catherine's brother, where Heathcliff was a servant at that time. He seemed to think that the man she was supposed to marry really loved her, like a puppy he thought, but that Catherine scorned him. Though maybe that was his opinion. She did seem eager to leave together and not at all afraid, stealing away in a moonless night. It was very strange to feel intense love for another woman. It was so real somehow. I really had to come back into the now, hold Adison for half an hour to convince myself I was really me.' During his account, Mina has been looking at him intently, but apparently she has been listening to what he's said, for she observes: ' You know I think I met him shortly after they arrived, for he did wear quality clothes like you describe that were slightly large on him. Small wonder, for he was emaciated at that time. I wouldn't wonder if it was hatred that kept him so lean. In any case, when he started to make some money he filled out a lot and the clothes fit him a lot better. You are skinnier than he was, I suppose you do get a lot of physical excersise.' And she looks at him again, quite intently. This time, he looks back questioningly. She looks away as if ashamed of her thoughts, then laughs at herself and explains: 'I'm still very aware of your blood running through me. I couldn't help thinking of all the blood we have let go to waste. Since I've lived here, I've seen you bleed a pint at least, and Adison washed it all away.' Vincent finds this very funny, and observes: 'It's just blood, there's always more. Anyway, you just told me blood is of no use to you if it's not straight from the vein.' Mina smiles and replies: 'I guess it would have made a strange impression if I had sat on your chest, licking your life's blood straight from the wounds. Too bad...'

The next few days they take everything very slowly. The doctors both sleep a lot, and in the few hours they are awake, they decide to sacrifice the front room to have an inhouse practice built. Why travel from patient to patient with only a few tools of trade and at risk of their person, when they can let the patient do the travelling and have all their medicin and utensils handy. It wil take less time, so they can help more patients and reduce the price, making their services affordable to nearly everyone. Of course they can still visit some patients, the ones who are too ill to move, or the very rich customers, for a different fee of course.

Mina finds she can skip a day's feeding on Vincent's blood, she can feel it in her veins long after normal human blood would have faded, so she forces herself to do so. The temptation to feed on him every day is huge, he expects her to need blood on a daily basis so he wouldn't even know. But her lust for the potent stuff worries her, it feels too much like an addiction, and she decides to remind her body that she is now in charge, that she is no longer subject to its whims. Vincent does offer, of course, and seeing the hesitation as she refuses, she doesn't want him to think she feels unduly attracted to him, so she says: 'Your blood will last me a day longer than normal blood, but the taste of it and the feeling it gives me are so heady I'm sorely tempted to take you up on your offer and get a few mouthfulls more. But I'll wait until tomorrow before I feed again, bcause I don't want to be hooked on your blood by the time Victor is well enough to feed me again. 'We'll save it for emergencies then', Vincent remarks laughingly. 'And maybe for special occasions and holidays?' Mina says with an infantile voice. 'Only if you have been a good girl,' is his reply.


	10. Chapter 10

Chapter 23

The next few days they take everything very slowly. The doctors both sleep a lot, and in the few hours they are awake, they decide to sacrifice the front room to have an inhouse practice built. Why travel from patient to patient with only a few tools of trade and at risk of their person, when they can let the patient do the travelling and have all their medicin and utensils handy. It wil take less time, so they can help more patients and reduce the price, making their services affordable to nearly everyone. Of course they can still visit some patients, the ones who are too ill to move, or the very rich customers, for a different fee of course.

Mina finds she can skip a day's feeding on Vincent's blood, she can feel it in her veins long after normal human blood would have faded, so she forces herself to do so. The temptation to feed on him every day is huge, he expects her to need blood on a daily basis so he wouldn't even know. But her lust for the potent stuff worries her, it feels too much like an addiction, and she decides to remind her body that she is now in charge, that she is no longer subject to its whims. Vincent does offer, of course, and seeing the hesitation as she refuses, she doesn't want him to think she feels unduly attracted to him, so she says: 'Your blood will last me a day longer than normal blood, but the taste of it and the feeling it gives me are so heady I'm sorely tempted to take you up on your offer and get a few mouthfulls more. But I'll wait until tomorrow before I feed again, bcause I don't want to be hooked on your blood by the time Victor is well enough to feed me again. 'We'll save it for emergencies then', Vincent remarks laughingly. 'And maybe for special occasions and holidays?' Mina says with an infantile voice. 'Only if you have been a good girl,' is his reply.

Chapter 24

It takes a long time for Victor to get his strength back. Adison is already going on housecalls again after one week, keeping their clientele happy, but he is still suffering from headaches and dizzy spells. 'I got hit twice by an undernourished woman with bare hands, Victor. You were beaten up by at least four men with clubs. There is a difference. It will all be fine, you'll see. It just takes time,' Adison tells him. He complains: 'But I'm bored, you won't let me read, or go to my workshop, or visit patients. Or feed Mina, or, well, you know..' Adison may be a pillar of equanimity, but she's still only a twenty year old girl, and this is too much even for her. She exclaims: 'Victor, listen to yourself! I'm not your mother, or your doctor for that matter. I have not forbidden you to do any of those things, you don't do them because they hurt, or because you are an adult doctor who knows what is good for a patient with severe concussion, even if that patient is himself.' At this outburst, Victor has the good grace to feel ashamed of his petulance. Of course everyone knows doctors are the worst patients, but that is no excuse to treat his friend this way. He looks very contrite, and Adison relents and tells him: 'Let's not argue, but think of a way to resolve this. Reading would not be a good idea, that could cause lasting damage. Dissecting and drawing what you observe would be even worse, if you were able to concentrate. But you can come with me on a few housecalls, or we could see some patients here, as a sort of trial for our idea. As for the other thing, your dizziness is not due to lack of blood or undernourishment, so why don't you try giving Mina a few mouthfulls this evening, see how it turns out. And if you listen to your body, you will know how far you can take the inevitable result. Just take it slow with the science, if you take my meaning. Let her do the hard work for a few weeks and just enjoy.'

Victor is now really sorry for his earlier reproofs, Adison is always so good to him, and all he can give her in return are childish accusations. Adison gives him a nice warm hug, soothingly saying: 'You can't help feeling like that, love. Impatience and irritability are symptoms of concussion too. I'm not angry or hurt, I'm probably still irritable too. Even the way you feel now is not really you.' Victor realises that is all true. He is emotional and irritable, and Adison has never reacted that way before either. Relieved, he says: 'Where did you get so much wisdom at your age?' And: 'It can't be long now before Mina wakes up. Will you help me convince her to try?' Adison smirks and replies: 'Of course. And what would you say to taking Mina to the theatre this week? It's not as if that is really hard work.' Victor's face lights up: 'You're right, and I'm sure she'd love to. But what if someone recognises her?' Adison is not taken aback: 'We ladies have our ways of looking totally different from how people know us. Don't you worry.'

When Mina wakes up, she finds Victor dozing next to her. They now share his room, where they have installed a nice sized bed. She never sleeps to sundown anymore, apparently she can waken after the sun is past its highest point, though of course she cannot go out in daylight. She takes some convincing to try feeding on Victor that night: 'But you are still dizzy all the time, you need your blood for yourself. And I can see you aren't thinking of the kitchen table, you're planning to make love too.' Victor takes both her hands and pleads with her: 'The dizziness is because my head got smashed in, not because of blood loss anymore. And Adison suggested I let you do the hard work during the follow-up, just laying back and enjoying it so to speak.' 'So Adison approves?' Mina says. 'She suggested we start with a little bit, and see how it goes,' Victor replies, hearing in her voice that he's won. 'Well, she's the doctor, so all right. I don't really need to feed until tomorrow, so tonight is the perfect time to try.' And saying this, Mina feels a thrill of anticipation at finally tasting Victor's sweet blood again. She starts to picture how she can sate both their passions without overstraining his recovering body. His white soft skin, still bruised and cut, but so tempting, his boyish figure, that she has held so often the last few days, but not in passion since that first glorious time. She wants him, and not tonight, but now. He is still clearly not as sharp as he usually is, for though he is sitting right next to her, he only notices her rising passion when she very carefully takes his bruised face in both her hands and kisses him on the mouth slowly and very, very deeply. Nearly out of breath, he feels his body awaken and respond to her passion. The lust drowns out every lingering feeling of pain or tiredness. He feels invigorated, and kisses her again passionately. Every one of his nerves tingles, he feels a real lust gripping him, telling him to grab this woman.

And so it happens, he grabs his woman, and his woman grabs him, and because she is a lot stronger than him, she can just pick him up and lay him down carefully on their bed. 'Now you lay back and enjoy, and let me do the work', she says smilingly, and he takes her advice. With incredible discipline, she controls her lust and starts small, exploring every inch of him with her mouth and and sensitive fingers, avoiding all the places that still hurt, and emphasising those that feel best. Then when he is gasping with feelings brought so high they can no longer be undergone passively, she straddles him, guides him inside her and with his first thrust, bites his tender white throat and latches on. His feelings explode, and for a moment the whole world comes to a standstill. He can feel her worry over this, but just at that moment, the world moves on and he is happily thrusting again, feeling her ride his movement, making them one creature in a flowing motion. When he tires because of his injuries, she continues the extatic movement on her own, her teeth still in his neck and her mouth still sucking just enough to make him feel all his nerve-endings. This cannot last much longer, he can feel his climax approaching rapidly, and with renewed vigor he starts moving along with her again in perfect harmony. This entices a groan of pleasure from her, clearly they are doing right by her as well. For a moment, he changes from a thinking man into a lustful creature, pumping furiously in pursuit of his high, and then he comes to himself again, sated, feeling his lover ardently licking the puncture marks her teeth have left there. She kisses him, her mouth tasting of his own blood, and he answers her kiss greedily. Then she lies next to him, arms and legs entangled in his, and she looks at him. 'How's the head', she asks. 'Empty', he replies. 'Good', is her return. And with that they lie back again and savor the moment.

In the meantime, Adison is in the study, working on the administration of their patients. It is a boring chore, but someone has to do it. At least they don't have to do the laundry, the shopping and most of the cooking themselves anymore since their practice has become succesfull and Vincent has a lead part. The practice is still growing, Victor will soon have to decide whether he wants to keep doing his research, or take on more living patients. Or they could hire someone to keep the patient files. But in a way they don't need to take on more patients, they make a good living even now and they do want to keep some spare time to spend together. Hearing the front door open, she decides to call it a day, that's Vincent coming back from arms practice with Bruce, and her talk with Victor has made her feel her own need for some intimacy. As she puts away the patient files, her lover enters the study, saying: 'I knew I'd find you here'. She is so happy to see him, she practically runs at him, and he catches her and clamps her firmly to his chest. They kiss as if they haven't seen eachother for months instead of hours, and suddenly they realise they haven't made love since they both got trashed by Miss Yves.

Seeing in her eyes what she has in mind, Vincent remarks: 'I've been working out, I smell like a pig.' Adison doesn't think so at all, she loves it when he is sweaty, his nice comfortable smell takes on a new, very stimilating, aspect. 'Good,' she says, 'I want you to smell like an animal, because I want you to make love to me like an animal. I feel in heat, like an animal. We've been too careful for too long.' And with that, she goes straight for the scar on his temple, a strong reminder of the time when his violent side would sometimes take charge. Touching it used to be a fool-proof way to get him fired up with lust and totally out of control in a second.

The effect is astounding, but not what she expected. Instead of being thrown over his shoulder and taken to and dumped on their bed for some rough lovemaking, as is her intention, he sinks to the ground and lands on his knees, like a bull struck down. Adison is in shock, she has brought her proud, immensely strong other half down as if she's struck him between the eyes. She automatically looks in those yellow eyes, she has always been able to read them, see what is going on inside him. And so it is this time. For in his eyes, she doesn't see the beaten expression that goes with the posture, she sees the intensity she saw there the first time she touched those scars, she can see it growing. He pulls his loose shirt over his head, baring his scarred torso. Then he looks straight at her with those sulfurous orbs, and his husky voice says: 'Touch it again, touch all of them.' And she does, right there and then. Kneeling in front of him she touches the scar on his right temple, tracing it with her fingers as she used to do. He lowers himself even further, until he is lying on the rug, with her straddling him, still tracing and caressing the white lines that she helped shape out of the wounds of his birth. Under her touch, he is shuddering with emotion and rising passion.

Reaching the end of the scar on his stomach, she doesn't move down to caress the curly hair, as she did the first time. Instead, she traces the new scars, ragged lines from the claws of the horrid creature that attacked him. They are not really white scars yet, but rather wounds just healed, pinkish in colour. She can feel his tension grow, the emotion overruled by the heat and the passion. As she reaches the last of the new scars, she bends over him to kiss him, touching the scar on his temple again at the same time. And now she gets the reaction she expected the first time, she is clutched in an iron embrace, as their mouths meet in an electrically charged kiss. Still kissing, he takes her to their bedroom where, indeed, he does drop her on the bed with him on top of her. His smell and weight drive her crazy with lust, she so loves to see this glorious beast, feel his pride, his strength, even his dominant nature. He's out of his trousers easily enough, but her even her simple house dress is a bit more challenging. He manages to make getting it off her a sensuous experience, unbuttoning the front with one hand, the other exploring the layers of fabric of her skirts until he finds some part of her that is aching for his touch. Buttons undone, he literally finds his way beneath the skirts, following his exploring hand, moving the whole dress up and over her head, stopping at several places underway for a quick taste, or some lusty fondling.

When the dress is no longer on her body, he pretends to have gotten stuck in it, fighting to get out. This is not what she has in mind, but she can't help enjoying the show very much, he can be so incredibly funny. Besides, she knows a trick or two to get this fellow's attention back to lovemaking. With his legs sticking out of her dress, she feels both of them up from the ankles. Very stimulating, she notices, also for the person doing the feeling. Following the legs upward, she will automatically find the object of her search. Somehow, her wayward lover has quieted down a lot with her hands fondling his inner thighs. He's lying still now, making it easier for her to find what she is looking for under the fabric, moving her head under the skirts too, and taking it in her mouth. She supposes that her chances with the beast are over this time, she cannot imagine him winning from the actor in a churting mood. But actually she's enjoying herself quite well as it is. Of course she succeeds in her objective, she can clearly feel him tensing up, extatic with her attentions. He even emerges from the dress, pushing it to the side where it will be safe. She is now putting some serious effort in her ministrations, and to good effect. He knows what she wants from him, and now he's ready to deliver. In one fluid move he lifts her, rolls her on the bed with him on top, and connects his body with hers. She is hit with a surge of intense heat, feeling exhilarated. He's really let go now, and she gives herself up to his ferocious lovemaking.

Afterward they decide to try the showers, but since the last few days have been chilly, the water is rather cold. They use it anyway, but quickly. 'Maybe Victor can invent a smaller boiler, just for a shower or two,' Vincent says, shivering. 'That'll give him something to do until he feels better,' he adds. Adison looks at him slyly and says: 'I think he took a big step towards recovery today, he proposed Mina to try feeding her again, and I think she accepted.' Now, Vincent's mood becomes thoughtful, and he immediately explains why: 'That's a good thing, for master Man summoned me today from arms practice. He told me that there are portents concerning my past, and he would like to induce my memories with a certain potion. I can't take that as long as Mina is dependent on my blood.' 'Portents?' Adison asks, 'I thought we were done with the enemy for now?' He replies: 'That's what they thought, too, but someone has foreseen that the enemy is looking for something or someone, and apparently it is connected with me. They want me to delve in my past to find out. I don't mind, I'm not afraid of my past anymore, it actually feels good to have memories past one year, even if they can be uncomfortable. I suppose I could run into someone from the past any day now. It would be safer to know whether they are friend or foe.' 'You will take me with you when you do that, won't you?' Adison asks him. He takes her in him arms, kissing her, and says: 'I will take you with me wherever I go, I want you with me always. Will you come see me play tonight?' 'I will, gladly,' she answers. And with that, they dress and go in search of some dinner.

Chapter 24

In the kitchen they meet up with Mina and Victor, both looking well-satisfied. That makes four of us, Adison thinks. Victor clearly feels a lot better, and she realises that he just needed to get started again. Keeping too quiet wasn't good for him, nor for herself for that matter. But not to worry, this time it will not take a week before they make love again, she is sure of that. They have dinner together, and then Vincent and Adison leave for the theatre. It is so good to see Vincent on the stage again, she really enjoys the show. She is amazed that none of the actors ever seem to get bored with playing the same role, every night their performance is as if it is the first time. Every time she sees her lover on stage she falls in love with him all over again: he looks so good in his costume, and his voice and diction are just perfect. It doesn't even bother her that he plays several love-scenes with another girl, she just gets caught up in the story and enjoys the happy end. She does wonder if Vincent still dreams of getting ahead, of progressing to a larger theatre with serious plays instead of these penny dreadfuls.

When the play is done, she stays in her seat to see what kind of folk gather for the meet and greet with the cast. She sees hardly anyone she recognises, Vincent is talking to a distinguished looking gentleman in his fifties. A very handsome man still, with noble bearing. They are talking animatedly, both seem to be enjoying themselves. He doesn't seem to be the type to visit this establishment, but of course higher forms of entertainment will get boring too, so maybe this is just some variety for this gentleman. They manage to fill half an hour with their conversation, and no-one interrupts them, not even the director, who joins them for a moment to listen to their conversation, but starts mingling again soon afterwards. When Vincent and the gentleman finally take leave, all the other players are already backstage, putting away their costumes and removing their make-up. Vincent gestures her to join him, then steps behind the scenes as well. She walks through the rows of chairs sideways, then follows the path in the middle towards the stage. There is a little stairs on the side of the stage, which she climbs, and then she also disappears behind the scenes, into the dressing room.

It is a large room, which Vincent shares with several other actors, and as she enters they are all bombarding him with inquiries. But he waits for her to be seated before he speaks: 'That man is the stage manager of the Court Theatre, he wants me to audition for a role in the next play they're staging. It's by a modern playwright, Oscar Wilde, and it's supposed to be a really diverting piece, something with a guy called Earnest.' Now everyone is talking at the same time, congratulating him, asking him if he's planning to do the audition. Adison is very proud of him, she doesn't say anything yet though, they'll have plenty of time to talk it over. All Vincent says in reply to all the queries is: 'I'll seriously consider auditioning, yes, and the director knows who the man was and what he was planning to do. Common courtesy among theatre managers, you know.' He's finished dressing and offers Adison his hand. She takes it with a thrill of pride, it is so nice to see him so rooted here, among these colourful folks. She loves sitting here with them, quite a difference from her own job. 'See you all tomorrow!' Vincent calls out to his colleagues, and then he leads Adison out through the stage door. Adison waves at the other players in passing, certain she will come again tomorrow.

As soon as they are outside, Adison embraces him and they kiss passionately. Then they walk home, keeping an eye on their surroundings, but talking as well. Vincent tells Adison all about his chat with the stage director: 'This is it, love, my big opportunity. He told me he was really impressed by what I did with a role as flat as the lower countries. He was touched by my interpretation, which he thought a miracle for the play is not meant to be felt. I will go of course, though if I get the part I'll miss all of this immensely, I know everyone, trust everyone here. These people made me into who I am as an actor.' Adison tells him: 'I understand completely. These are your friends, if you leave here you'll miss them. But serious theatre is what you wanted from the first. Did he give you a date, and a scene to prepare?' Vincent replies: 'No he didn't. He told me he'd send someone with an extract and to prepare that. I'm looking forward to reading the text.' 'You'll do fine, I'm sure. I'm so proud of you,' Adison tells him, eyes shining in admiration. They hold hands the whole way back, and come in all exited. They repeat their lovemaking, they clearly have something to make up for. Adison touches the scars on his torso on purpose, his reaction that afternoon scared her, she's afraid it was caused by her neglect of that part of him. Being hurt focussed her attention on herself and Victor too much, she feels she has neglected Vincent the last week. She avoids touching the scar on his temple tonight, afraid to overdo it, but she is planning to spend a lot more time on him, all of him. What could have caused him to react so strongly, so humbly, she doesn't like to see him begging for anything. It reminds her of their beginning too much, when he was so dependent on her that it still hurts to think of it. Maybe this is the time to just ask him?

'Vincent', she says into the dark. 'What is it, love?' his baritone voice answers. 'What happened this afternoon, when I touched the scar?' she asks. He crawls closer to her, holding her tightly and says: ' I've been thinking about that myself, love. When you touched the scar it reminded me so strongly of a very intense period in my life, it just suddenly overwhelmed me. My life is so normal now, I felt so useful the last week, with me running the household, providing blood for Mina, with my past filled in, the case solved, the theatre each night. But you touching me there brought it all right back, my birth and my growing up, trusting in you, dependent upon you, all those memories and feelings in one touch. It brought me to my knees, literally. Did it scare you, dear?' Now Adison is overwhelmed by memories and emotions as well. Suddenly she understands how it must feel to him: he remembers every second of his year long life as if it happened yesterday, and nothing more. Since Mina told him of Heathcliff he felt like a normal man, with a past and a family to care for, but when Adison touched the scar she had reminded him forcibly of his strange beginning. 'You scared me nearly to death. I thought you had broken.'

The remembrance still upsets her, he hears it in her voice and strokes her hair and face: 'I love you so much, I never meant to scare you. Witnessing you get hit and hurt was unbearable to me, that may have shocked me somewhere too, and touching the scar brought it out. Maybe you can touch it regularly, I'll get used to it again, associate it with our new life together, where I am not as dependent. Adison gently tells him: 'Dearest, you are no more dependent on me than I am on you. That's just part of being together. You haven't been dependent since you got the part in the play. You have supported Victor and me since then, we have relied on your strength, why do you think we like to be dominated by you? We feel safe with you.' Realising the truth in this, he says: 'You're right. I never realised, but I do now. I need to think about it a bit more, but not now. Now, I want you to touch the scar you've avoided tonight, see if my dark side is willing to make you feel really, really safe.' Which she does, and which he is. It is a good thing the fourposter is a very sturdy bed, for the gorgeous beast is no longer burdened by any negative emotions and overwhelms Adison once again with his superhuman strength and his incredible stamina. Exhausted, they drop off, still holding the other tightly.

Chapter 25

Somewhere during that night, Vincent relives part of his past again, and even as he undergoes the shocking memory, he realises this is what master Man needs to know about. He is in the modern appartment, their haunt in the city, and it is a nice place, large for the city and well-decorated. Catherine clearly has excellent taste in furniture and decor, and as clearly plenty of money to spend on it. She is not enjoying it now, though, for she is not looking well. Her face is grey and drawn, and she seems in great pain and distress. Oh my god, Vincent realises, what if this is the moment of her death? He feels the helplessness of his predecessor, and his intense anguish over her situation. She is not calm, she's raving madly, it sounds as if she has delusions, and if she's had them before. Heathcliff seems used to coping with them, he reasons with her, tries to calm her down. He tries to hold her, but she keeps him at a distance, quite violently. His feelings are heartbreaking, he is so desperate, he is afraid she'll kill herself, sinking into madness ever deeper and deeper. Now she cringes in pain, not mental pain but severe, acute physical pain. His former self is nearly as far gone in his misery, but this new symptom shakes him out of it. This is new to him as well. She folds in pain again, it is clear her stomach is giving her intense pain. Checking her out with Heathcliff's eyes, Vincent gets the biggest shock of all: her belly is extended, showing all the signs of a pregnancy in its final stage. Of course Heathcliff must have known that, but together with his own denial he feels Heathcliff's: Cathy cannot survive a delivery in this state. Living with two doctors, Vincent cannot understand how she has gotten in this hopeless state, emaciated and apparently even dehydrated, but remembering Mina's comments, his former self is probably not entirely sane anymore himself. He knows a terrible scene is going to be played out here, and no-one in his right mind would want to witness this, but he also realises he will have to see it through.

If there is a child of his body on this earth, he needs to know if and where it lives. So he tries to influence Heathcliff to send for a midwive and a doctor, to relieve his wife's pain and help her to deliver the baby. It is a grueling battle for the life of the child, for the mother has no chance at all. There is no sanity left in Heathcliff, the thought of losing the love of his life has caused him to cross the border of reason. Vincent's influence is the only thing keeping his former self from succumbing to raving madness. Having lived through despair and rage, and utter loneliness already, he can still hardly bear the feelings that are assailing his senses through Heathcliff. He hovers on the brink of madness himself, kept sane only by the memory of another reality, where he has a home and lover of his own. He sticks through hours and hours of seeing Cathy suffering pain and madness, until she sinks into unconsciousness through loss of blood and loss of self. Finally, through expert intervention of the midwive, the child is born, alive, crying lustily. Miraculously she seems to be totally healthy, though small. Whilst the doctor takes care of Catherine's still form, the midwive expertly wraps the baby in a blanket. 'You have a daughter, sir,' she says carefully. She doesn't know Heathcliff, having only just met him, so she does what she always does, showing the newborn infant to its father. In her practice, she often sees mothers not survive childbirth, and usually the bereaved fathers cling to the newborns as the only thing they have left of their beloved, but this man looks more than half mad, so she does keep a safe distance.

Heathcliff doesn't want to see the child, but Vincent does, so he forces Heathcliff to take a peek anyway, trying to lock the baby's looks in his memory. She is a pretty girl, with huge dark eyes, a tiny face and a big mop of raven hair. She looks decidedly exotic, like her father. The only thing she has from her mother is the fine bone structure. His former self cannot handle looking at the child any longer, and when the midwive asks if she should find a wet nurse, with a broken voice he tells her: 'Get that child out of my sight. My life has no more use without my love.' And with that he moves to the side of the bed where Catherine is still lying motionless, takes her white hand and sinks to his knees, head bowed in submission.

Cathy is yet living, for his touch revives her a little. She looks straight at him and whispers: 'Send our daughter to Nelly Dean, sweetheart. She'll take care of her. But who will take care of you?' And with this, her pale face falls back on the pillow and she loses consciousness again. The doctor feels her pulse and says in a solemn voice: 'It can't be long now sir. I'm sorry for your loss.' Vincent feels his former self totally lose it. He's afraid Heathcliff will hurt the doctor or the child, but there is nothing he can do about it. In his mad grief Heathcliff has taken total control of the body once more, and now it is moving fast. Vincent only finds out what he is planning to do when the first blinding flash of pain hits his nerves, the shock driving him back into his own body. His head hurts where it hit the stone wall of the appartment, probably hard enough to draw blood. No, it wasn't his head, it was Heathcliff's. The headache doesn't disappear with this realisation. He just saw Catherine die in childbirth, and he has a natural daughter somewhere in the country, being raised by Nelly Dean, who will take good care of her.

The staggering impact of this knowledge keeps him immobile for what seems to be a long time. Then he sits up in bed. He has a child out there! They need to find it, find it immediately. If the enemy finds out he will have incredible leverage against them with a living child of his blood. His abrupt movement wakes Adison out of her sleep, and as she sees him sitting in bed she asks: 'What's happening?' First he practically grabs her, clinging to the reality of her warm, sleepy body against him, holding her so tightly she makes a squeeking sound. That brings him back to his senses, and he loosens his grip a little, saying: 'I'm sorry love. I needed to feel the reality of this world, of you. I had the most intense flashback, witnessing Catherine die in childbirth. In childbirth Adison, there is a daughter of my body on this world as we sit here and speak.' Adison is completely stunned by this news, but her body automatically answers his need by returning his embrace, holding on to him as tightly as he holds on to her. Then she finds her voice: 'A daughter, but where is she? Does the enemy have her?' He replies: 'I think not, if he was true to her last wish the child lives with a certain Nelly Dean, someone they knew in their youths. Cathy told him to send the baby to this Nelly, and there were a doctor and a midwive present to witness her dying wish. I need to speak to Mina. Now, before she falls asleep.' He is already moving. 'Vincent wait!' Adison says in her doctor's voice. He automatically obeys. 'Calm down first. You've seen a terrible thing, sit here and quiet down a little, then put on some clothing. I'll go and see if Mina is still up. You cannot do anything until daybreak anyway.' And she leaves him for a few moments.

If she is still awake, she expects to find Mina reading in their bedroom. And indeed, when she knocks on the door really softly, Mina opens it, book still in hand, surprise on her face. Adison says: 'Vincent has had a really intense flashback, reliving Cathy's dying moments. He wants to speak to you about it, but he is very upset because of what he saw and what he learned. Can you come talk to him in say, ten minutes?' Even more suprised now, and quite curious, Mina immediately affirms: 'I'll be there. You go back quickly and settle him down, that must have been a terrible thing to witness.' Adison does indeed hurry back, finding Vincent dressed and back on the bed. He is not moving, but she can see his mind is still running around in circles. She sits down behind him, taking him in her arms, stroking his face, his hair. He leans into her caresses, slowly relaxing into her arms. 'That's better', she says, 'we need you calm and able to think if we're going to search for your daughter. Mina will be here within ten minutes, take that time to collect your memories, you can tell both of us what happened at the same time.' She is not avoiding the scar on his temple in her caresses, and touching it under these circumstances seems to relax him further rather than tense him up.

Even though the situation is quite acute, Adison still savors this moment of total silence together, the man she admires and loves in her arms, giving himself up totally to her calming ministrations. All too soon, Mina knocks on their door and lets herself in. She sits down on the bed on Vincent's other side, the two of them surrounding him with quiet energy. Having lived with him and cared for Victor and Adison with him, Mina is struck by the difference between this man and the man she knew with the same body. The quiet tenderness they all share, Victor included, is the total opposite of what she remembers of his predecessor. And having lived of his blood for more than a week, she also knows that his tenderness has a core of the hardest steel,. He is indeed a modern creation, Victor's triumph over life itself, but only through love has he become a real human. Still aware of the bond of blood between them, she feels free to sit really close to him and take one of his hands in both of hers. Adison gives her an encouraging look, so Mina says: 'Now tell us what happened, and what you want us to do.'

'I was in their city appartment, and she was raving. He was at his wits' end with her. She looked awful, emaciated, dehydrated. Then she doubled up with pain, and I saw through his eyes that she was pregnant. You can imagine the shock that gave me. Him and me simultaneously realised she wouldn't make it through a delivery in the state she was in. He went to pieces, but I had to save the child, so I forced him to send for a doctor and a midwive. It took hours and hours of her suffering in pain and growing madness. Then she lost consciousness. The midwive managed to get her daughter out the natural way, and the baby seemed fine. He wouldn't acknowledge the baby, but I forced him to take a good look at her, so I could form an image of what she'd look like now. She was beautiful, his black hair and black eyes, her fine boning. Cathy faded away, but implored him to send the baby to Nelly. She uttered her concern about him, and sank into unconsciousness again, fading quickly. The loneliness and the madness in the mind I was a part of were devastating, only the remembrance of my life here with you kept me sane, he nearly took me with him in his despair over her death. I was afraid he'd kill the child, or the doctor in his desperate rage, but I think he bashed his head to the wall instead. I lost contact with him and woke up here, with a headache and this memory.'


	11. Chapter 11

Chapter 27

Mina is as shocked as they were to hear that Cathy had a child before she died, that is clearly visible. But Adison realises that doesn't mean the enemy is unaware of it. Because of her connection to Miss Yves, Mina was treated better than other captives, but she wasn't told everything. Still speachless, Mina tries to get a hold on the knowledge that there is a child of Vincent's blood. Her brain is already working at full speed: did she ever hear of a Nelly Dean, one they both knew as children? And did her former master know Cathy was pregnant and delivered a baby before she died?

'My first impulse is to find out where Wuthering Heights is, then go there and see if Nelly Dean still lives in that neighborhood. But I can't leave the city for more than one day because of my duties in the theatre. And though I know Heathcliff was a great rider, I wouldn't dare climb on a horse just like that,' Vincent says,'so what are the alternatives?' Adison answers: 'Finding the doctor or the midwive would be the first choice. You know what they look like, and a midwive that professional will have a reputation all over the city and will be easy to find. She will remember the case and where the baby went. We can inquire tomorrow.' Mina adds: 'I don't know an address, but I remember where Heathcliff used to live. You could visit the appartment and ask about the former inhabitants. Actually, it may still be yours. You know, there are a few hours left until daylight, shall I show it to you right now? Then you will not have to wait until nightfall to go there,' Mina suggests. To Vincent, that is the best option. It means he can be active right now, he won't be able to sleep anyway, and they can start the real search tomorrow morning instead of in the evening. Adison decides to stay with Victor: 'What if he wakes up and finds all of us gone? That would be weird. And you'll make better time without me, you're both fast.'

Minutes later, Adison is back in bed, and Mina and Vincent are off into the night. Mina is in the lead, setting a stiff pace. Vincent is doing his best to keep up and remember the way they are going. He wishes Adison was with them, to make a sketch of the route. Still, he can memorise the address once they are in the right street. Within a quarter of an hour they arrive at an appartment block that does look familiar to him. Maybe he saw it in one of those dreams? Mina walks to a door: 'This is the right house, I think the living area is on the first and second floor. I've never been inside though, he used to make us wait outside for him. He kept us away from Cathy.' Vincent makes a mental note of the name of the street so he can find the house again. It looks occupied, though there are no lights burning at this time of the night. 'Thank you Mina. I'll let you know what we learn as soon as you're awake tomorrow,' Vincent says, 'and please be honest with me: if we find the girl, will it hurt Adison to have her live with us? The thought of me possibly having a wife and children upset her greatly when we had first found you..' Mina laughs and says: 'Don't worry Vincent, I'm sure she was afraid to lose you to another woman. I'm very certain she will love a daughter of your blood as much as you will, and I'm sure she will the best mom a child could ever have.' Of course, Vincent knows this, but still it feels better to have a woman confirm it. 'Nice house, you think I may still own it?' he changes the subject. She replies: 'Well, it was yours, it wasn't rented. So I do wonder who inhabits it now. You may want to bring some arms when you visit, or maybe even the watch.' They return quickly via the exact same route, and crawl into bed with their respective partners.

Strangely enough Vincent does find sleep, and the next morning they are up early. They tell Victor everything at the breakfast table, and decide to visit the house first, their patients later. Discretely armed they walk to the place, looking around to get an impression of the neighborhood, then they use the ornate doorknocker. A wel-dressed man in his forties opens the door, takes a good look at Vincent and turns white as a sheet. He holds the door open and says: 'Mr Heathcliff, we didn't expect you to... you look different.' He looks positively scared. Vincent replies: 'I've been through a lot. If you have a place where we can talk, all of you still here, I'd be much obliged.' His calm politeness reassures the manservant a bit, but not very much. Adison is on her guard, his staff may have taken over the house, unwilling to give up their freedom and comfort to their unsympathetic master. But apparently there are only the manservant and one maid left of the staff. As they sit down in the parlour, the maid brings tea, then on Vincent's invitation she joins them. 'We haven't heard from you in over a year, and you left in a confused state. We feared something bad had happened, but your lawyer had your funds in trust and told us to keep up the house with minimal staff for at least two years. Since you have no known kin and we knew you were in a bad way with Mrs Catherine's kin, no-one ordered a search for you. You do look different sir, one would hardly recognise you.'

Vincent, still trying to put the two at ease, tells them part of the truth: 'Something bad indeed happened to me. I was seriously hurt, and lost part of my memory. I've been regaining it in small parts. I am really glad you've taken such good care of the house, and would ask you to continue to do so for a little longer.' Encouraged by his mild manner and forthrightness, the manservant says: 'You look to be in good health sir. Especially considering how you left sir, you were in great mental distress, and you seem to be more stable now.' 'I've been through a lot, and have learned a lot for it. But now I'd like to get to the purpose of my visit. I've only very recently remembered the night of Mrs Heathcliff's death, and with my improved circumstances I now feel able to take on the care of my daughter. I'd like to know where she is living.'

Here, the maid puts in her two cents: 'Why Mr Heathcliff, the little lass will be right glad to hear of thee I'm sure. And Mrs Kent, Miss Dean as was, will be glad to hear of thy return to good health.' Vincent cannot believe his luck: 'So you know where she is? The manservant answers: 'We certainly do. After the Misses passed away, you were locked up in your room for a week at least. You never ate, I'd swear you never slept. Your face was a right mess with beating yourself, I suppose you couldn't think of living without her, you were so close. The housekeeper hired a wet nurse and Laura here took care of the baby. Then you came out of the room, totally normal, wrote to Miss Dean as was then. She came within a week, tried to convince you to keep the little girl as company. But you said you couldn't live without the Misses and that it would be unfair to the child. So Miss Dean took the little girl to her own village. She's been writing to Laura here ever since, to let her know how little Catherine's doing.'Here, Vincent interjects: 'So she's called Catherine?' 'Yes, Miss Dean gave her that name, said she looked just like her mom, excepting her colouring of course. After the baby had gone, you just let yourself go to bits, raving and beating your head against the wall. Then you went out one day, and we never saw you again until now. We knew something bad had happened, you must have had a dreadful accident.'

Surprised, Vincent says: 'How that so?' The girl says: 'It's the scar, master, that must have been a really bad wound. And you weren't afraid of nothing, but you must have been very scared, how else could you lose all you colour? I'm certain Nelly will be thrilled to hear from you, she's married now and her new husband brought plenty of kids with him. He's a widdower.' As they now have enough information to mount a succesfull search, there is only one thing left to try and obtain: 'I remember being driven in a coach, I suppose that has been sold?' The man says: 'You never owned a carriage sir, you usually rode on horseback. You were such a good rider, no-one else could handle your big black., when you disappeared he got too restless to keep here in the city, as we couldn't find anyone to excercise him. So the lawyer sold him. You should pay him a visit too, I'll write down the addresses for you, Miss Dean's and his. And the livery stable where you used to rent a carriage if you needed one. Or I can arrange you one?' Vincent asks: 'How far is it to Mrs Kent's place?' The man looks at the maid, who replies: 'A three day ride, master. Nelly came in a cart, though, in a carriage may be quicker.' Vincent looks at Adison, and she observes: 'You need to arrange this with the director first, you can't just stay away. We'll call as soon as we know.' The man looks at her questioningly, and Vincent introduces her: 'This is my fiancé Miss Adison. She is a partner in Doctor Frankenstein's practice.' Adison shakes hands with both of them, finally getting the man's name: 'Pleased to meet you Miss Adison, my name is Martin, Mr Heathcliff's steward. I've heard of Doctor Frankenstein's practice, they say he can raise people from death. Actually, they say his partner... wait, that must be you then?' Taking another hard look at his master, scarred and very pale but healthy looking and seemingly mentally stable and even happy, he can believe her reputation. After that introduction, Laura is quite impressed, this girl isn't as vibrant a beauty as Mrs Catherine was, but apparently she's a doctor with an already legendary reputation, and she feels quite embarrassed to shake hands with her as an equal. But Adison has never had staff like this, their retainers used to be more like friends, so she treats the maid as any other person and says: 'Hello Laura, I'm Adison, and I'm pleased to meet you.'

Soon after this, they take leave, promising they will be back soon to talk business. Pleased that everything went smoothly here, hoping Mrs Kent will be as willing to give up the girl to her father as Laura seems to think, they talk about what needs to be done further. First, Vincent will go to the theatre and talk to the director, for he really needs some time off to settle this matter. They need to have a good talk about his possible new career as well, and it might as well be today. And Adison needs to see her patients, and tell them about their trial with their home-practice. That way, Victor can attend to her patients whilst she is off to Wuthering Heights. So they both go their own ways, and that afternoon at teatime, they sit around their kitchen table and discuss everything that has happened with Victor and Mina. Those two have the same glow as yesterday around this time, so Adison guesses Mina has already been fed to both their satisfaction. She addresses Victor: 'Are you feeling better still? You look positively healthy!' He smiles amiably, and tells her: 'I feel much better. I'm starting to think bleeding patients may be a good way to treat patients after all. It gives a feeling of accomplishment and it stimulates appetite.' Vincent observes: 'I can imagine the latter pretty easily, but I'm afraid that for the feeling of accomplishment, you really need to donate the blood to someone rather than the kitchen sink.' Mina says: 'Imagine a vampire making a living by curing people through bleeding. Ugh, I can imagine the taste. Sick people's blood. No, I prefer a healthy young specimen, like our doctor here. But Vincent, what did you two learn, Victor and I are both dying of curiosity.'

'Well it seems I'm a gentleman with a nice house and staff, and an as yet unknown fortune. The steward and the maid who have kept up the house since my disappearance recognised me instantly. They know my daughter, and she indeed lives with Nelly Dean, now Mrs Kent. We have the addresses, and, Adison, I have called on Martin to ask him to arrange a carriage for tomorrow. Apparently the director has been expecting my promotion for some time now, and I have a week off in which the company will bring another set they have played before. Bruce has the part Simon used to play. I did wonder why he didn't call as often to loan books. After the week we'll continue the current play whilst the others rehearse a new piece.' Vincent is a bit suspicious at how easy this all seems to be going, but what can they do?

Chapter 28

The next morning they leave, having packed for a week's journey. Having learned from the past, they have packed plenty of weaponry, their guns and several cartridges of bullets, a hidden knife for Adison and a saber that Vincent carries openly. Of course a well-outfitted doctor's carriage-driver knows where he is supposed to go, so they sit back and try to enjoy the ride. As soon as the carriage is in motion, they are in eachothers arms, trying to find some release for the tension they've been under. It is not easy to make love in a speeding carriage, but it can be done. It works too, for afterwards they are a lot calmer than they were, and they start to realise what they are doing. 'If this works, we'll have responsibility for a child,' Adison says, 'she's probably not yet two years old. Do you think we'll be able to raise a child?' Vincent looks at her with admiration and replies: 'I'm sure you are, I remember how you raised me as if it was yesterday.' She's not having that: 'That wasn't like raising a child at all, you only needed to be reminded of things, and you had the temperament of an adult. With her mom and dad, this will be a feisty lady, she'll take some raising. Children take years to grow up, not a few months.' Vincent is unshakable: 'Still I'm sure you can handle it, and with your help, I will manage too.'

After a short pause he adds: 'My love, I think I know how you stand in this, which is why I have not asked before, but if you object in any way to taking in a child that is not related to you at all, and whose parents you have in some way never even known, I will understand. We can just meet little Catherine and leave her with her caretaker.' Adison is moved, but she says: 'That thought has never even crossed my mind. You know Vincent, lately I have been thinking it would be nice to have children. This may be our only chance to have one that is related to one of us. I'm thrilled! And besides, it would be way too dangerous to leave her there unguarded.' This time it is Vincent's turn to have a new thought: 'You think I may be unable to have children?' Adison nods: 'Of course I'm not sure, but somehow fertility in men seems to be connected with having a beard. I'm sorry.' 'Don't be', he says, 'I'm very happy as we are. Let's first see if we can find little Catherine.'

After two days of hard travel, sleeping in inns twice and changing horses regularly, they reach the inn where they will exchange horses for the last time, then press on deep into the evening until they arrive at the village where Mrs Kent lives. They go inside to have a good, hot meal after their tiring day of travel, and are soon seated snugly at a table for two, with the best fare the inn has to offer between them. The inn is very quiet, at a time of the day when one would suspect it to be filled with hungry villagers and travellers like themselves. When the waitress brings their drinks, Vincent asks if it is normal to see so few visitors on an evening like this. The reaction of the girl to the question is strange, for her face takes on an expression of extreme fear, and she says: 'Oh no, good sir, not at all. Our inn used to be filled up with people at this time of the evening, all eating and drinking and making merry. But nowadays no-one dares go out after dark, they all stay inside and keep their doors and windows locked tight.' That is weird, and Adison asks her: 'But why don't they dare to go out? Are there robbers about?' The maid replies: 'No my lady, there be no robbers, there be a gytrash on the moors, a murderous ghost in the shape of a beautiful black horse with flowing mane and tail. It has already done for four men, wanting to catch it and ending up in the moors, drowned you see. It tempts them then kills them. No bodies were found, but they never came home.' She puts their drinks down, then goes back to the kitchen.

That doesn't sound too good, even though neither of them believes in ghosts. Still, they're not going to ruin a good meal over a horror story, after all, they've seen their share of monsters and fought them as well. And the food is good, stew with freshly baked bread, roast slices of pork, baked potatoes. They eat well, then sit back and enjoy a cup of coffee, it will be a long evening, driving through the dark. Tired, they don't talk much, the warmth makes them sleepy, and they sit nodding. Then a man approaches them, well-dressed but with a rather humble attitude. Adison guesses it's the innkeeper, and she soon finds out she is right, as he says: 'Sir, my lady, I have heard from your driver that you are planning to travel on to Gimmerton tonight. May I advise against it very strenuously and offer you the facilities of my inn, it is really unsafe to travel in the dark in these parts. A so-called gytrash has been sighted and it has taken the lives of four men so far.' He wrings his hands in worry, apparently seriously upset by the idea of people going out after dark. Adison looks at Vincent, who tells the innkeeper: 'We are planning to continue our journey with fresh horses, we mean to reach our destination tonight, it is only three more hours of travel on an excellent road. Whatever could a horse do to us, as long as we don't follow it into the moors?' Adison agrees totally with him, but she hopes the driver will see it their way. If he refuses to drive, they will be forced to stay the night.

As it happens, the driver sees it their way, he is very much a city man and not inclined to believe farmers' folk tales, as he puts it. He clearly is a man of the world, as he shows them a large gun on his belt as well as a sword like Vincent's. 'I can protect myself sir, have been in several gang-wars in my wilder days. Needs to be a big bad horse to scare me,' he brags, 'if there is trouble I can't handle I'll knock on the carriage window, and you can do your part. I've heard of your reputation as a fighter master Heathcliff, I'm guessing together we can handle pretty much anything this here country can throw at us.' Thinking of the vampire creatures, Adison is not so sure of his fighting prowess when under attack by the supernatural, but she finds his superior city attitude very entertaining, and she does trust Vincent's ability to handle almost anything. And maybe she also suffers from city superiority feeling, for she finds it hard to imagine something out there in the country that can harm them. Unless, but that seems quite far-fetched, it is the enemy plotting to take the child, waylaying them in the country, where they don't have allies. She asks their host, the innkeeper, how long these attacks have been going on, and he answers: 'A few weeks now, madam, and if they keep up much longer my business will start to suffer seriously.' She thanks him for his answer and his good care, and observes to Vincent: 'That is too early to be set up to stop us, but it could have been set up to get at your daughter.'

Vincent replies: 'We could do worse than be at our guard. I will not sleep and I suggest you do the same and keep your weapons ready for use and within reach. I am considering riding on the box with the driver, to allow me to keep an eye out for danger. Would you mind that?' Though she doesn't like being alone in the carriage, Adison doesn't feel like being surprised by enemies either, and in a closed carriage they'd be sitting ducks. So she tells him: 'I don't like it, but I realise it is the wisest thing to do if we're not to be ambushed or surprised by attackers.' And so it happens that when they set off again, with fresh horses, Vincent rides along on the box, fully armed and alert, and Adison sits inside the carriage, also fully armed and keeping her senses open for the feeling of evil.

After two hours of driving, they are making good time and no suspicious horses have shown themselves. Vincent has no trouble keeping awake, and neither has the driver, whom he now knows is called Neil. Neil has apparently driven him often when he was still Heathcliff, and it is clear from their conversation that Heathcliff had a formidable reputation for being a ferocious fighter, but also for having a vicious temper. Having a serious conversation on the box seat would have been out of the question with him. Vincent learns that Neil also thinks that he has to have experienced something unspeakably fearsome to have turned white, and to have suffered such a wound as to leave a big scar in his face. Apparently the story of Adison's healing power has already spread, for she is credited with both his survival and his change of character. That won't do her practice any harm, he guesses. Neil himself comes from the poorer quarters, and has worked himself up from stable boy to driver by his extraordinary talent with horses of any stamp. He knew Heathcliff's horse not only by reputation, but also from experience. 'I could have handled him, but I couldn't afford to keep such an animal,' he says, 'and anyway, what would I do with a gentleman's horse?' He has a nice home and a family, and is satisfied with life as it is. This trip is a nice change from hasty trips in the city, and long waits in the cold, keeping the horses quiet and warm whilst the rich enjoy themselves in the theatre or the club. And it pays well, of course.

Now, they don't talk much anymore but rather watch the road and the darkness around it. Neil also watches the horses closely, with their keener senses they will warn them of danger before a man can sense it. Sitting next to a man whom many would think of as one of the most feared men in the city is decidedly weird, especially talking with him as if he is truly human, about common things like family and dreams for the future. Neil used to be really careful around him, and wisely so, for he could turn violent in an instant. He was not surprised when Mr Heathcliff disappeared and word on the street was, that he had been killed in a bar brawl. Not sorry either, to be honest. But now that has changed, whatever Mr Heathcliff has been through seems to have thoroughly changed him, and though Neil will not take any familiarity towards him, so far the change has been real. Lost in his thoughts, Neil is still very attentive to his surroundings, and when he notices an extra alertness in the horses he quickly tells Mr Heathcliff, who has his gun out before Neil can finish his warning. Mr Heathcliff used to be quick, but not thát quick. But he is not able to finish that thought, for in front of the carriage, standing by the side of the road, is a beautiful coal black horse. It is not threatening, but grazing. In the dark. He says in a low voice: 'Horses don't graze in the dark, or beside the road.' Their own horses don't seem nervous or disturbed by this horse now they've spotted it. Not wanting to have a potential threat behind them, they decide to stop and investigate. Mr Heathcliff knocks on the carriage window to warn his fiancee, Miss Adison, who looks like a little grey mouse, but who apparently, single handedly, has tamed her wild lover to the well-mannered, mild spoken man sitting next to Neil.

With the carriage come to a halt, Neil immediately sees to the horses, they are his first responsibility and Mr Heathcliff can clearly take care of himself and his fiancee very well. From his position at their heads, he can see Mr Heathcliff climbing down from the box and opening the door for Miss Adison. She doesn't look scared or helpless at all, not burdened by any ladies' stuff like a bag or a kerchief, but rather carrying a medium sized gun as if she knows how to handle it. He can see a large knife on her belt, and she walks alert and balanced somehow. Mr Heathcliff now looks more like he used to, like a predator. He does not look at Miss Adison, rather trusting she is at his side, as if they have been into danger before. Having been a gang-member, Neil knows how people move in a group, and these two have fought together before. Strangely enough, Miss Adison is the first to approach the horse, and it nears her fearlessly, as if it is just a horse that has escaped and wants to be found by humans. Neil studies its stance and its demeanor, and though it looks like a normal horse, it behaves more like a predator, too fearless and too forward, almost eager. Miss Adison has stopped, and is discussing something with Mr Heathcliff now. Neil decides to warn him, in a quiet voice that carries far enough in the night: 'Be careful Mr Heathcliff, that looks like your former horse, but it moves like a hunting dog.' He nods, and both point a gun at it. The horse-like creature seems to know its chance to fool these victims has passed, for it now shows its true nature, and Neil's special report with horses is soon tested to the limit as the large black horse broadens and changes into a huge black slavering dog with red eyes and teeth lighting up white in the lights of the carriage. The horses snort and tremble in fear, and try to flee. But they are already a little tired, and he is at their heads, so he manages to get them calmed down, convincing them they don't want to look at the horrifying beast but at a few treats he carries in his pockets.

Now, he can look at the terrifying scene again, and the enormous black beast now looks very much like a creature he once saw at the zoo, a hyena, only much bigger and intensely black. It has sprouted a second head, which proves to Neil that this is not a natural creature from the moors, but a supernatural threat. He is frozen with indecision, there is no way Mr Heathcliff can beat this creature on his own, but if he releases the horses they'll break and run, almost certainly ruining the carriage and costing them their own life. He knows shots will be fired, so he attends to the horses again, and none too soon, for both his passengers now empty their gun's cartridges into the beast with a thundering noise. Noise over, he can see that the beast has taken damage, but it has not been beaten by any means. Now Miss Adison falls back on a shout by Mr Heathcliff, and he takes on an offensive stance, one that Neil doesn't recognise. Miss Adison now joins him at the horse's heads, and warns him to keep his gun ready to shoot if Vincent, the name by which Mr Heathcliff goes now, should fall.

But for now, there is no need for his gun. The small, dark figure whirls a shining sword, clearly an expert swordsman. But he doesn't attack yet, which is not as Neil remembers Mr Heathcliff, always a hothead ready to launch himself into a fight. This figure takes his time, waiting for his opponent to strike first. And as the huge creature goes for his throat, the man flashes under it with incredible speed, raking its tender belly with the sword. The first blood spouts, and the man emerges behind the monster and starts hacking at its hind legs with a vengeance. The creature howls in pain and anger, and turns in an instant. It is not bested by far, but it leaves a trail of blood and one of its hindlegs is not moving as fast as the rest of it. Mad with anger it again attacks Mr Heathcliff, is this cool headed figure really him? And the human figure launches itself over the heads this time, flying or so it seems, slashing at the neck of the head to the left in whirlwind moves. Now he closes in, knowing the creature will turn on him again any moment, and slashes once more at the already damaged leg. The man is so incredibly fast, that it just seems humanly impossible. But hacking through a leg the size of a plough horse's takes time, and the creature has spun again and delivers a slashing bite of its own with its undamaged right head. The small figure is flung a distance, fortunately away from the horses, and lands with a crash.

Neil is crushed, he seemed to be doing so well, why didn't he take more time? The creature was bleeding profusely, it couldn't have lasted much longer. He reaches for his gun, ready to defend his life and the horses against the monster. Beside him, Miss Adison is readying her knife, looking crushed by the damage done to her lover. But that one is already back on his two legs, bleeding now, but not looking any weaker for it, nor any slower. He faces the monster attacking him again, and this time he jumps up to the height of the creature's one undamaged face, then slashes down two-handedly in a terrifying show of strength. The blow, delivered with incredible force, causes the monster's right head to split in a shower of blood. Can this be a normal man, delivering blows like that? Neil shakes his head to clear his mind, he cannot believe what he just witnessed. There is still some life in the huge creature, but its movements no longer seem coördinated, they look more like spasms. The only slightly wounded left head still feebly threatens its small human attacker, and Mr Heathcliff braves the thrashing pillars of its legs and the badly coordinated left head to deliver a final killing blow to the monster. Its thrashing stops, the head drops, leaving a huge carcass lying beside the road. The man still stands, tired to death and bleeding, but victorious. How one man managed to beat such a creature is a total mystery to Neil, even though he saw it happen with his own eyes. Miss Adison now asks him for his gun, and realising she wants to go to her lover he hands it over. Rather she than him, he'll guard the horses a little longer. Holding the gun ready, Miss Adison nears Mr Heathcliff, who is now clearly on the point of collapse. Neil is impressed by her guts as well, that is a fearsome creature, even apparently dead. She is just in time to catch her lover as he falls, and remembering she is a doctor, he is not surprised that she manages to keep him upright, and guides him to the carriage. She asks Neil if he can leave the horses for a bit now, and he judges he can, helping her set Mr Heathcliff down on a grassy knoll next to the carriage, well within its lights.

She tells him: 'He is not badly wounded, I'll take care of him in a minute. But first I want to see if that creature is really dead, and what it was. So she leaves him with Mr Heathcliff and coolly walks to the dead monster, checking its vital signs, gun at the ready in her one hand, knife in the other. She spends another minute observing it in total silence, almost like a trance. Then she quickly runs back, returns his gun, puts her knife away and climbs into the coach to grab a big bag. Now she returns to her wounded man, and finally shows the concern Neil would expect her to. She strokes his black hair, his white cheek, until he looks up at her. Embarrassed to watch such intimacy, Neil busies himself with the horses, certain she'll call him if she needs help.

Chapter 29

Adison tries to get into contact with Vincent, to see how badly he is hurt, but she finds it hard to wake him up. She decides to give him a bit of a new component of her doctor's bag, some of the director's vile liquor. Feeding him a sip from a stoppered vial he sputters and wakes up immediately. He says: 'That really is gross. I got him, didn't I?' Adison looks at him proudly: 'You sure did, you were magnificent, 't was as if you were flying. Shame Bruce couldn't see it. Why weren't you awake just now?' Vincent looks truly surprised: 'I don't know, it got a hit on me only once, and that didn't stun me. You think it spelled me?' Well, at least he seems wide-awake now, she asks: 'Where did he get you, what hurts?' He replies: 'I'm afraid it's the chest again, and my left leg feels painful.' Adison checks both and applies a bandage to stop excessive bleeding, then clears up her stuff and helps Vincent into the carriage. She calls out to the driver: 'Mister, are the horses able to go on to the inn? And can you get them past that?' she points at the body of the monster lying across part of the road. Neil answers: 'No problem to both questions. Is the master all right?' Adison replies: 'He is wounded and needs further attention, but it can wait until we reach the inn, with clean water and light and a bed. Will you lead the horses past the carcass?' Neil observes: 'Won't get them past it otherwise Miss Adison. You step into the carriage with the master and take care of him, I'll get us to the inn.' He really seems to care what happens to Vincent, and she says: 'Thank you, I will.'

Very soon they are indeed well on their way to their destination, and now both of them realise what has happened. 'Vincent, you killed a huge monster on your own. Even Bruce would have had trouble with that. You are an even better fighter than I realised. Were you scared?' He laughs, wounds forgotten, giddy with a feeling of triumph: 'Yes I was, for a second, and then I fell into a fighting stance and I became totally quiet and confident.' "I saw that, you just let him attack you. Your moves were stunning, you seemed to fly,' Adison says admiringly. 'I can hardly believe it myself, it felt as if I was in a play, not as if it was really happening, everything seemed to slow down. When I got hit it didn't even hurt, I just got up and delivered the final blow. I split that thing's skull in two, Adison, with one blow. I must be very strong indeed, stronger than any of us realised.' Adison wraps her arms around him and says: 'I was scared, though, that huge thing and you on your own, I'm glad it's over, and I'll be even gladder when I've seen how bad your wounds are and when I've treated them.' He kisses her and says: 'But until then, you can hold me and kiss me, and tell me how brave I was.' And so she does, and within an hour they reach their destination, the only inn in Gimmerton.

Their arrival causes quite a stir, theirs is the first carriage to arrive at night for at least a month, and the appearance of Vincent covered in blood proves that something dangerous really is out there. They have made a deal with Neil, he will enjoy a few beers in the tap room, telling everyone that wants to hear about the attack of the gytrash and its demise, whilst Adison and Vincent, or Heathcliff as he is known here, will get cleaned up and his wounds treated. The inn has a bathhouse, so they make use of that first, cleaning up carefully and soaking some of the tension out of Vincent's muscles. Then they retreat to their own room where Adison checks him over minutely, treating two or three major slashes and a bite mark. He is also bruised quite extensively, but that is more his usual state than exceptional. Adison decides to stitch the three slashes, knowing how careless he is with wounds. Then some Chinese herbal treatment to speed up healing and prevent infection, and they are ready to dress for supper, which they take in the taproom to give the people the sensation they want. After such a fight, sleep will be slow to come anyway, and this will make Vincent look good with little Catherine's adoptive family.

After supper they arrange to have a boy sent to Mrs Kent the next morning, hoping she will agree to see them. Then Vincent sits back with a complimentary drink from the landlord, and he answers a load of questions from the inn staff, about the gytrash and how he killed it all by himself. They all call him Mr Heathcliff, and treat him with the greatest respect. Adison overhears some maids wondering how such a friendly looking man could be a dangerous fighter. She can imagine their doubt, sitting there telling stories Vincent is much more the actor than the born fighter. It reminds her that Vincent has been on the stage every night for months, excepting the last few days. Maybe he misses his audience and has agreed to tell his story himself to have one. After his public appearance they retire to their room to get some sleep, but lying in the soft warm bed together they take some time for eachother first. Vincent holds Adison close, strokes her hair and her face, and her female curves, kissing every part of her, whispering: 'I'm so very glad to have you by my side, I want you with me always.' She relishes the attention, but still teases him a little: 'And here I thought you preferred an audience to my company.' He looks at her, yellow eyes still hungry, lifts an eyebrow and observes: 'I'd rather have a theatre filled with people watching a role I play than those few admiring my person. You make me feel real, you know the real me and take him down to earth if he needs it.' She moves on top of him and kisses him passionately, stroking his beardless face, and his broad chest, glad to finally have some time together. They cuddle some more, then make love quietly, and fall asleep with their bodies tangled together.

The next morning they sleep late, and go to the taproom for their breakfast. The boy has been sent with their message, and he doesn't just bring a positive reply, he brings Mrs Kent back with him. Mrs Nelly Kent, formerly Miss Nelly Dean, is a middle-aged lady of about forty, not too short or too tall, neither fat nor skinny, with clothes chosen for practicality rather than fashion, and hands well-used to hard work. She looks a bit suspiciously at Adison, but when she sees Vincent her expression changes to a combination of joy and shock. She clearly recognises him, but is struck by the changes in him. Studying his features as freely as someone might who has seen one grow up from a child, she takes both his hands and addresses him: 'Heathcliff my boy, they said you were most likely dead. And you must have come close, look at you. You were as dark as a gypsy, the things you must have seen to lose all your colour like that!' Adison finds that an interesting explanation for his loss of skin pigment, the maid also thought he must have scared himself white. Nelly is now crying openly, clearly she must have thought a lot of him as a boy. Vincent of course doesn't remember her at all, but he can recognise her genuine attachement, and he says: 'You are totally right, dear Nelly, I've been though a lot. I've lost a lot of memories after receiving a very severe wound to the head. Please let me introduce my fiancee Adison, she is a doctor and she has brought me back from the brink of death.' Adison and Nelly shake hands, and she can feel Nelly sizing her up.

Vincent continues: 'I had been living with her for nearly a year before I started to get some memories back from my past. It is only three days ago that I remembered the night of Catherine's death and little Catherine's birth.' Part of the suspicion is back in Nelly's demeanor: 'You didn't want the baby when she was born.' Vincent says: 'I relived that horrible night two nights ago, and I was nearly as mad as Cathy was just before she died. I totally lost it after she left me. I would have been a terrible father. The loss of memory and the year with Adison have made me a different person. I've mastered my violent temperament and found a career that keeps me occupied and challenged.' 'And a very stable young woman that loves you deeply, apparently,' Nelly adds. 'And someone I love and who loves me, not possessively, but in freedom,' Vincent acknowledges. Nelly nods: 'Well, she is your child, and I see you're much quieter and yes, also happier than you used to be. I deem you can give her the home she needs. Do you have children already?' This question is directed at Adison. 'No, we haven't,' she replies,'but I have always hoped we would have them some day.'

Now, Nelly says in a near whisper: 'There are two things I have to tell you before you finally decide to take her home with you. The first is, Catherine is a very strong willed child, even at her tender age. She is just two years old, but she already has tantrums like her mom used to have. My husband has raised six children, and he has little patience with her sensitive nature, none of his get ever behaved like that and he finds it difficult to cope with her. I see her parents reflected in her, so I know how to deal with her, but I foresee great difficulties between the two of them, worsening a little each year. I do not want to choose between my husband and this child I have come to love as much as I did you and Catherine, so in a way I'm glad you've come for her. You can handle her, and seeing what Miss Adison has accomplished with you, I'm certain she can do even better. You were never as composed as you are now, you seem tranquil, even happy. I want that for little Catherine.

Then there is the second thing I need to warn you about. Someone else wants your daughter, very much so. A few weeks ago an unknown man visited us, asking to take little Catherine with him. He promised to make her an important person, rich, with many servants and pretty things. We didn't like the man, and our dogs didn't either. Catherine wasn't to be seen for as long as he visited. We told him no of course and that made him angry, though he hid it well. Since that visit, we all have the feeling our farm is being watched, we see men about that don't live in this neighborhood. We dare not go out alone or after dark, we lock our livestock up at night, we have had locks installed on our doors. Since that visit, we live in fear, and my husband and I have come to the conclusion that as long as little Catherine is with us, we're all in danger. If you take her with you, you will be in danger too. '

Vincent and Adison now look at eachother seriously, and Adison nods encouragement at Vincent. He lays an arm on Nelly's shoulder and says: 'You have confirmed our suspicion, Nelly, that something is after Catherine. We can defend her and ourselves against it, which is why we started planning this journey the night I remembered her being born. Have you heard about the gytrash?' Nelly seems relieved to hear they believe her suspicions, and she replies: 'I've heard you slew a gytrash all by yourself on your way out here. You mean to say that is true?' Vincent looks at her seriously, and says: 'It is true Nelly, I have fought that thing and killed it. We think it may have been sent by the same person who wants Catherine, to terrorise the countryside so everyone stays inside, to wear down your resistance so you let her go.' Now, Nelly starts to look afraid, and she says: 'I think you'd better come back with me and take her with you straight away. We're being watched, and your enemy will know the gytrash is dead. My family may be in danger.'

This is not exaggerated, and Vincent and Adison spring into action, arming themselves, loading their guns, Adison slinging a small version of her doctor's bag on her back. They leave the room to look for Neil, their driver, and find him in the taproom. Vincent asks him: 'Can I convince you to join us in a rescue mission? My daughter and this lady's family may be in danger.' Neil says: 'Sure thing, please wait until I've fetched my weapons, sir.' And he's off, and back again in a minute. Together they follow Nelly to her farm, setting a stiff pace, scanning the fields carefully for ambushes. Soon they near the farm, and they can hear the disturbing sounds of fighting. Nelly still leads them on, saying: 'We can still run towards the farm, it's behind that little brush, we have cover until we're in view of what is happening.' So they run for it, weapons ready, all sides of their little group covered. When they come into view of the farm, they can see a man and three large boys,armed with pitchforks and a scythe fighting off eight burly men armed with clubs and staffs. Nelly calls out: 'Peter, it's me, these people are friends!' At her yell, the burly men turn, and four split off the group to attack them. Despite seeing the guns pointed at them, and two men carrying sabers as if they know how to use them, they continue their attack, though they don't stand a chance against a person carrying a gun. This worries Adison, and she yells: 'Don't shoot or kill them, they are most likely possessed. Try to stun them.'

Vincent understands immediately, tucks his gun in his belt, and closes with two of the men, taking one down with a well-aimed strike to the neck, the second one with a high kick. Adison rushes towards the stricken men, making sure they're out. Faster than lightning, Vincent takes out a third, whilst Neil hits the fourth over the head with the butt-end of his gun. They were not good fighters. Now moving on to the four still attacking the farmer and his sons, they try to prevent hurt to both sets of men, Vincent again striking one and kicking another, both dropping like stones. The farmer, encouraged by the arrival of help, has his man down, and just as Neil arrives to aid the youngest son the boy manages to floor his burly opponent. The downed men seem dazed, not realising what is happening, until Adison motions Vincent to hold the one who had been attacking the youngest son. She takes his head in both her hands, whispers her intelligible sentence, and kisses his forehead. The man looks up at her and says: 'Who are you, lady, and what am I doing here?' He looks around in fear and wonder. 'And what happened to my brother, why is he on the ground?'


End file.
